When shopping for electric guitars, you may see that they come in all types of materials and the prices range from very low to outrageously high. You may wonder why this is when they seem to be almost alike in appearance and even sound. There are many things that go into a great guitar, and these are things you may not be able to pick up on until you have been playing for a while. When starting out with this instrument, there is no harm in buying cheap electric guitar, but you should know that after a while you may find that they simply won’t do.

To the novice, the cheap electric guitars may sound just like any of the more expensive ones, but this is never the case. Most people who have been playing for years end up with a certain type that they like, and all has to do with how the instrument sounds. The difference may not be discernible at first, but most musicians develop an ear for these differences very quickly. Different sounds go with different types of music, and some use many different ones for different songs. It can be confusing, and can something you can’t find from cheap electric guitar once you know what you are doing.

There are other things that may mean cheap electric guitars are not going to cut forever. Some have action that is just too high and too hard to use. This refers to how the strings set against the fret board of the guitar. Some are too hard to play and the strings are too far from the fret to play with any ease. That can be a problem for some. However, there are some players who prefer the cheap electric guitars for this very reason. Everyone has a different style and a unique way of learning, and that might mean the inexpensive is the way they want to go.

Even though there are many cheap electric guitars that are no good, there are plenty that are worth their weight in gold. My husband is a guitar player, and one that he loves more than anything cost him a little over a hundred dollars. Compared to some of the other guitars that he has, this was a very good deal. He say is the best sounding and best playing instrument that he has ever owned, and he would never trade for anything else. He has many, but remains his favor. Don’t discount the cheap electric guitars. You may just find one of the many great exceptions out there.

Each of the previously mentioned CAGED method chord shapes has a corresponding major scale pattern, that include all of the notes played in the different chord shapes.

Scales are essentially what melody lines are created from. Try listening to your favourite songs and identifying which key it is in by which notes in the scale are used. Looking at our first lessons, we can see that once you find the key, you can find which chords are in the song, and in no time flat you should be able to identify either the melody line, or the chord progression.

Practice some solo improvising using the notes in the scale patterns over its corresponding chord or a simple chord progression. Sometimes you can stay in the same scale pattern throughout a chord progression, while other times you might need to switch scale patterns to the corresponding chord.

The best way to practice these scales is just to play them over and over and over and over again. Work on hitting each note cleanly before ever trying to build up speed.

In my basic guitar theory lesson 2, we learned the pattern that every major scale was based on (remember the WWHWWWH), and in lesson 3 we learned that the 6th note of the scale was the relative minor. Knowing this, we have a new pattern for our minor scale. Before, the C scale (CDEFGABC) had the first formula applied to it. Now that we know that A minor is the relative minor of the C scale (6th note in the C scale), there is a new formula for the A natural minor scale (ABCDEFGA) is – WHWWHWW.

We know that each note in the scale has a certain number value (also called degrees or intervals) assigned to them. Since there are three types of minor scales—natural, melodic, and harmonic—the thing that makes them different are their intervals. The natural minor scale degrees compared to the major (C Natural Minor compared to C Major) would be

C Major: C D E F G A B C
Intervals: 1 2 3 4 5 6 7 8

C Natural Minor: C D Eb F Gb Ab B C
Intervals: 1 2 b3 4 5 b6 b7 8

The natural minor has flattened 3rd, 6th and 7th notes compared to the major.

C Major: C D E F G A B C
Intervals: 1 2 3 4 5 6 7 8

C Harmonic Minor: C D Eb F G Ab B C
Intervals: 1 2 b3 4 5 b6 7 8

The harmonic minor has flattened 3rd and 6th notes.

C Major: C D E F G A B C
Intervals: 1 2 3 4 5 6 7 8

C Melodic Minor: C D Eb F G A B C
Intervals: 1 2 b3 4 5 6 7 8

The melodic minor has only a flattened 3rd note, however that is only when going up the scale. Going down the scale, the melodic minor is the same as the natural minor.

Once again, try searching for the most common scale patterns and using them to improvise over your favourite songs and identify the keys they are in.

Learning the major and minor scale patterns will drastically help you when improvising and creating your own melody lines over chord progressions.

Practice makes perfect.

How To Read Guitar Tablature

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If you are someone aspiring to be a musician, it is beneficial to learn to read music. While reading music is standardized with many other instruments, guitarists have developed their own method to ease the reading of music in tablature. Unique to guitarists all over, tablature though not perfect, is a simple method of effortlessly reading and sharing music with others, especially with other guitarists. Below you will find a quick primer on how tablature works.

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<a rel=”nofollow” onclick=”javascript:_gaq.push(['_trackPageview', '/outgoing/article_exit_link/711922']);” href=”http://www.prestomusicstore.com/”>Basics of Tab</a>

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Guitar tablatures are available online. In the above diagram, six horizontal lines comprise the tab staff for the guitar. Each line symbolizes each string of the guitar. While the second line from the bottom denotes the A string, the bottom most line denotes the E. guitarists find this simplified tablature very easy to use and follow.

When you notice carefully, you will find there are numbers in the center of these lines which actually denote the strings. The fret has to be played by you according to these numbers. For example, if you look at the above diagram you will note that you have to play the third string and the seventh fret. Number zero in the tablature tells you that you have to play the open string.

Tablature is one of the most basic and easiest methods of reading music which can also be found online. Reading chords involves a more advanced method of reading notations in the tab.

Reading tabs does not take much time to learn. The most basic tab reading can be learned by almost anyone. As opposed to other instruments like the piano which requires intensive training for a prolonged period of time, most of the guitarists learn to play on their own after a set of basic lessons. Piano involves training in sight reading as well as rigorous coaching in theory lessons.

As a guitarist, if you are trying to learn songs on your own, you may find it difficult to read music. Sight reading is quite complicated, especially for beginners and self taught musicians often avoid doing this. By using online tablatures, you can learn various songs.

Reading guitar tablature online is also simple. If a series of numbers are displayed vertically by the tab, it means you are supposed to play all the notes simultaneously. According to the tab picture above, the notes in the E major chord has to be held down and all the six strings must be strummed simultaneously. To make things simple for the guitarists, the chord name is displayed in the tablature. This enables them to identify the chord easily.

Fundamental Flaws of Guitar Tab

There are however a lot of flaws in this tab system including the rhythmic notation. For example if you have no idea about the part where the guitar has to be played in a particular song, you will be at a loss to know how long to hold the key. Without rhythms it is next to impossible to determine this.

There are attempts to include rhythms in some guitar tabs. This is done by including stems on the numbers. This however is difficult for the guitarist to read, recognize and play fluently. Instead of doing this, it is easier to actually going in for the basic standard notation. Guitar tablatures can be read only by guitarists as opposed to the standard notation which can be read by every musician.

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Guitar Hero 5 is one of the most popular PSP Go games and you can download it form The PlayStation Network (PSN) using Media Go. However, if you are tired of paying too much on purchasing downloadable PSP Go games you can download Guitar Hero 5 from a website called PSP Go Station. This is a smart way to get your favorite game for free.

PSP Go Station is a membership based program. As a registered member, you can access life time to unlimited downloads any PSP Go games, movies and music that can be played on PSP Go and PSP1000, PSP 2000, PSP 3000… The program is a one time fee, unlike other game download sites that are monthly subscription or pay-per-download. It can become very expensive when added up. So if you want to play Guitar Hero 5 PSP Go game you can download it from PSP Go Station’s member area in just few minutes.

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As a member of PSP Go Station, you will be granted unlimited access to download Guitar Hero 5 and any of your favorite games, movies and music at one time fee. Unlike other similar game download site that charge on a monthly subscription basis and The PlayStation Network is pay-per-download basis. For a one time member fee, you can access to PSP Go Station’s database for life time. It is really a great deal!

So why pay for expensive PSP Go Games while you can get every of the games, movies and music you want at PSP Go Station at the price of one payment. Also Guitar Hero 5 can be downloaded and play on your PSP Go.

Ever thought that a guitar might be a more lucrative investment than the stock market? Vi ntage guitars are becoming a hot item in the collectibles market, and there are few icons more recognizable to Americans than a rock star and his guitar. While a few months’ savings might have bought a guitar in the 1960s, some of those instruments are selling for big bucks today. Recently, George Harrison’s guitar sold for a little under six hundred thousand dollars, for instance. Eric Clapton’s favorite Stratocaster from the 1970s, Blackie, sold for nearly a million.

While celebrity collectibles have been a good investment for years, guitars themselves have largely been overlooked. However, the guitar was perfected between the 1930s and the 1960s, depending on the model, and instruments from this period are highly regarded. Some people think that in fifty to a hundred years, guitars from the mid 20th century will be thought of in the same way as violins and cellos from the 17th and 18th century.

The appeal of any guitar grows over time, and there hasn’t yet been a period when the market sank. That makes a vintage guitar a great investment choice, as well as a visually and emotionally rewarding collectible. There’s nothing like being able to say that you own the guitar once played by a legend.

Values only continue to go up, too. While a 1959 Fender Sunburst Stratocaster, one of the most famous types of guitar, originally cost about $250, it brought between eight and nine thousand dollars in 1997. Today, you might have to pay seventeen thousand for a model with a slab fingerboard.

Recent stock market unpredictability has meant that people are more interested in guitar collecting. These vintage instruments are a great type of protected investment. For collectors who want to cover all the bases, consider a varied collection – acoustic, electric, exotic, antique, vintage, contemporary and even custom guitars.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proven to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls’ and Fender Telecasters and Stratocaster’s from the same era. (50′s, 60, and 70′s).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below. This list includes that have been inducted into Vintage Guitar Magazine’s Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin.

Over the past couple of years the vintage guitar market has taken a hit here and there but overall has proven to be a sound investment for most. The experts say that when inflation accelerates and the dollar shrinks collectibles prove to be a good place for your money.

You might be asking yourself whether a guitar can really be a good investment. After all, to the untrained eye, most guitars are the same. However, the right guitar can be worth a lot to a collector. Guitars that have been owned by celebrities, or which are rare or unusual, can command very high prices indeed. If you’re worried about getting a return on your money, don’t be. Vintage guitars have consistently performed with more stability than the stock market. There are a number of reasons that collecting vintage guitars is an excellent strategy.

For one, they’re more tangible than a stock or bond. They give you an attractive piece to display, and are fun to collect, too. Guitars also don’t lose value over time. In fact, it’s just the opposite – vintage guitars consistently gain value as they get older, as long as you take the time to keep them in good condition. They’re also usually superior instruments. If you’re a musician as well as an investor, you’ll appreciate the superior action and tone of a real vintage instrument. The most popular vintage guitar with collectors is probably the Gibson Les Paul.

Here is a small example: Let’s say in 1959 you had $100.00 if you were to bury the $100.00 in a coffee can in your back yard or put it in your bank account and let it sit there drawing a couple percent interest inflation would slowly take this $100.00 and if you were to pull it out 50 years later you would find that $100.00 would barely get you a nice dinner for two. However if you would have taken that same $100.00 and gone to your local pawn shop in 1959 and picked up a 1959 Gibson Les Paul guitar and placed it in the closet instead then you could pull it out of your closet today and it could be worth well over six figures.

People are starting to realize how much these instruments from the 50′s 60′s, and 70′s really meant to our culture.

There is a very limited supply and there still seems to be a high demand for these pieces of history which has proved to be a good choice for those who have invested in these instruments, such as the Gibson Les Pauls’ and Fender Telecasters and Stratocaster’s from the same era. (50′s, 60, and 70′s).

A good place to start collecting vintage guitars as an investment would be to focus your research on obtaining guitars from the list below. This list includes that have been inducted into Vintage Guitar Magazine’s Hall of Fame. There are, of course, other lists and other guitars worth investing in, but this is certainly a great place to begin. Two great sites to begin your search for these exquisite instrument are Bob’s Vintage Guitars at http://www.bestguitaronline.com and the Best Guitar Shop at http://www.best-guitar-shop.

In the coming weeks, I will be featuring each of the exquisite instruments in detail. This information will prove useful in your search for vintage guitars that will provide a good return on your investment.

Gibson SG Standard
Inducted in 2009
By 1960, declining sales of the Les Paul model had Gibson looking to revamp the guitar. So the company gave it a radically redesigned, much thinner (and lighter!) body intended to better compete with Fender’s Strat. But the things that made up its very heart and soul – {especially|particularly|in particular} its humbucking pickups – remained. Today, the early-’60s version is a true classic.

Gibson Les Paul Model (Goldtop)
Inducted in 2008
Les Paul tried for years to convince Gibson it needed a solidbody in its line. Finally, Ted McCarty brought a single-cut {experiment|experimentation} guitar to Les for his approval. Though its origianl bridge/tailpiece was far from perfect, the instrument served as Gibson’s test bed through the ’50s. Eventually, it reached the pinnacle among guitars and today sits among the top collectibles.

Gibson J-45
Inducted in 2007
Martin’s “dreadnought” flat-tops were big and dominated the guitar market of the 1930s. By the early ’40s, Gibson knew it needed a big flat-top to compete, and he J-45 (“J” for Jumbo, “45″ indicating its price in dollars) was it. A 16″ round-shoulded flat-top, even in the tough times of its launch, it received a very warm welcome and has ever since remained one of – if not the – most popular Gibson guitars.

Fender Jaguar
Inducted in 2006
Jumping on the speeding Fender bandwagon in 1962, it helped the company stay on top throughout the decade, with its fancy new vibrato tailpiece, sophisticated electronics, and (usually) a funky custom color. If you played instrumental rock at the time, you either had one of these or you were probably ignored!

Gibson ES-5
Inducted in 2006
One of the first guitars built after Ted McCarty took charge of Gibson, it helped solidify the company’s position as the world’s preeminent electric archtop maker. Today, its late-’50s variant with three PAF humbuckers and Switchmaster tone control is one of the most collectible of its ilk.

National Tri-Cone series
Inducted in 2005
Its warm, sustaining tone emanates from three aluminum “resonators” designed to help guitarists stand out in big-band or orchestra settings. But, soon after being introduced, Nationals were adopted by Hawiian and blues players. Today, the Tri-Cone produces what many consider the ultimate acoustic blues tone.

PRS Custom
Inducted in 2004
The first production instrument from a company that has become the guitar’s preeminent modern success story.

Gretsch White Falcon
Inducted in 2004
Like many great guitars, it has evolved through several versions. But it has been a classic since day one, for both it sound and utterly unique aesthetic.

The 1954-’56 Gibson Les Paul Custom
Inducted in 2003
Can you say “Black Beauty?” Though Gibson didn’t give it the name, Les Paul himself chose black as the secondary color for the guitar bearing his moniker. Gibson did, however, use it to experiment with a three-pickup configuration and to introduce its {famed|celebrated|famous|renowned} Alnico-magnet pickup.

Fender Jazzmaster
Inducted in 2002
Designed and marketed by Leo to cut into Gibson’s jazz market, it supplanted the Strat at the top of Fender’s line in 1958. And though its sound kept it from catching on with jazzers, garage surf bands of the day ate it up. It is one of the most copied solidbody designs of all time.

Gibson SJ-200
Inducted in 2002
A landmark amongst acoustic flattops, the SJ-200 was designed for cowboy guitarist Ray Whitley, and any cowboy worth his salt played one. Its popularity carried over to other genres, and never faded. From its jumbo-sized, sunburst-finished body to its ultra-fancy pickguard, bridge, and headstock, it was considered the consummate flat-top. Just ask Emmylou!

Gibson ES-150
Inducted in 1999
Gibson’s first electric Spanish guitar was also the first good-quality electric to hit the market. Favored by Charlie Christian, it housed Gibson’s first pickup, which is still in high demand and considered a classic.

Martin D-45
Inducted in 1998
Originally the fanciest of Martin’s {innovative|forward-looking} dreadnought line. If you had one of the 96 made in the 1930s and early ’40s, your net worth would be considerably higher than it is now.

Rickenbacker 360/12
Inducted in 1997
It was good enough for George Harrison and gave us the “jingle jangle” of Roger McGuinn. That’s more than enough for the 360/12 to be the only 12-string in the VG HoF.

Gibson Flying V
Inducted in 1996
One of the most distinct guitar designs ever created, but it wasn’t a hit when it came out in 1958. Rock and rollers {discovered|observed} it the late ’60s and the V still makes a unique statement today.

Gretsch 6120
Inducted in 1996
If you play rockabilly, you better have one of these! Introduced as the Chet Atkins Hollowbody in ’54, the 6120 soon shed the “G” brand and western inlays of the early versions, but never lost the Western Orange finish or the cool twang.

Fender Jazz Bass
Inducted in 1995
With its two specially designed pickups, offset waist, and slimmer, narrower neck, the Jazz Bass was intended to be the more tonally {diverse|versatile}, slicker-playing descendant of the Precision. The fact it was available in Fender custom colors (often with matching headstock) makes it all the more cool.

Gibson L-5
Inducted in 1994
Introduced in 1922 and with a design guided by the legendary Lloyd Loar, the L-5 was the first modern archtop guitar. Initially a non-cutaway acoustic, the L-5 went through many changes, ultimately becoming a single-cutaway with two humbuckers.

D’Angelico New Yorker
Inducted in 1993
George Gruhn said of it in the March 2000 issue of Vintage Guitar, “The New Yorker is significant due to its superb quality and aesthetic artistic appeal,” and is “one of the finest guitars in the history of the instrument.”

Gibson Super 400
Inducted in 1993
Introduced in 1934, with its 18″ body and deluxe features, the Super 400 was the largest and most expensive guitar in the Gibson line. Its influence was soon apparent in the designs of many of the great archtops built by others. Whether the earlier non-cutaway acoustic version or the later double-pickup cutaway, it remains a true work of art.

Fender Precision Bass
Inducted in 1992
The first bass in the VG Hall, and why not, it only forever revolutionized how the bass was played. One of the most innovative ideas in modern music history.

Gibson ES-335
Inducted in 1992
Born during Gibson’s “golden era,” the semi-hollow body ES-335 wedded archtop looks with solidbody performance. Whether it has dot inlays or blocks, it remains one of the coolest designs in guitardom.

Martin D-28
Inducted in 1991
The first acoustic in the VG Hall, the D-28 launched Martin’s line of incredible big and loud dreadnoughts in 1931. The D-28 has inspired many guitarists and builders, and remains one of Martin’s most popular models.

Fender Telecaster
Inducted in 1991
Leo Fender’s timeless classic is about as simple as an electric guitar can be, but still has the magic to appeal to guitarists playing just about any style of music. Every guitar player has a Telecaster (or should). Along with the Strat and Les Paul, the Tele is among the most popular designs around.

Fender Stratocaster
Inducted in 1990
The VG Hall of Fame was started in 1990 and we had little doubt the Strat would be among the first instruments selected for inclusion by our readers. Three single-coils, a vibrato (usually), and that great contoured, offset-double-cutaway body. Some 50 years after its introduction, it is still one of the most popular designs.

Gibson Les Paul Standard (‘Burst)
Inducted in 1990
Also an easy first-year selection, LP Standard was introduced with a sunburst finish in 1958, and the ’58 to’60 models are the most valuable vintage solidbody guitars. The Les Paul Standard is a classic no matter what finish it bears.

Have you actually noticed how some guitarists make songs when they solo, even though other people just sound like they are operating up-and-down scales? The difference among all of them comes down to phrasing. Studying to phrase is kind of like learning to communicate a brand new language. There are plenty of skills that must be mastered prior to you can actually “speak” whenever you play a guitar solo. I will break down these skills and assist you to discover them in an organized, structured and enjoyable way.

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This is 1 of my favorites! I’ll provide you with plenty of recommendations and assistance on how to create methods such as alternate picking, sweep choosing, tapping, hybrid selecting, string skipping, string-bending and a lot more! By developing your technique you’ll turn into a much more assured guitarist…and you’ll kick some totally serious ass once you solo!

This is 1 of my favorites! I’ll provide you with a lot of recommendations and guidance on the best way to develop methods such as alternate selecting, sweep selecting, tapping, hybrid choosing, string skipping, string-bending and a lot more! By developing your technique you’ll grow to be a much more confident guitarist…and you will kick some totally severe ass if you solo!

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Developing your feeling of pitch will be the most significant ability for any musician. Soon after all, new music can be a hearing artwork. I’ll demonstrate you methods to develop your ears so that you could turn into a superior musician.

We’ll have a look at methods to practice. This can be a important ability for any guitarist! Once you know how to practice successfully, you’ll strategy each and every practice session with self-confidence. You’ll really feel like it is possible to conquer, obliterate and dominate any musical challenge!

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So, you have been toiling on a piece for quite some time but it’s still not up and running, and now you feel frustrated, stuck with seemingly no way out. I’m here to tell you that it’s okay. You are not alone in this experience. Everybody goes through it at one point or another. While it may be comforting to know that this does not only apply to you it still doesn’t answer the question of “how do you fix it?” I will be going over the steps of the process that will get you out of that rut.

First, what you have to do is… are you ready for this?… Grab your head and run around in circles as if your hair was on fire! Okay, I was obviously kidding, but this does lead us on to our first point:

Take a Deep Breatha

As odd as it may sound it’s good to take a deep breath and walk away from the problem for a little while. This is because resolving problems often requires fresh thinking. If you have been pounding away at your problem over and over again, you are most likely not in the state of mind needed to work out things. Go out for a short walk, concentrate on other materials or do something that takes you completely away from thinking about it. Now this may not always be possible because sometimes you need to learn material quickly, but even a couple of minutes of disengaging from your problem may be very beneficial.

Check the script

Next on the list should be checking the sheet music. Obviously, I’m talking here about both hands as well as the placement of the notes on the fret board. If the fingering isn’t noted for the section that giving you problems, then take a look at the fingering you’ve come up with and to make sure that it is workable.
Break it down

You should break down the problem and find exactly what the root of it is. Is it a transition problem, as in the inability to change positions and chord shapes fast and secure enough? Is it a fretboard hand problem? Is it a right hand problem? Maybe the problem is combining the fretboard hand with the plucking hand. What you need to do is break it down until you find the exact causes for your problem, the core. For example, if it is a transitional problem, if the left hand cannot make the changes from one chord shape to the following, you may want to investigate further and see which finger is causing the problem, or to put it differently which finger is late to the “party”. If the trouble comes from your plucking hand then note the finger/fingers that are making this happen. For example, is the “a” finger getting misplaced too often and not hitting the right notes?

The point is that you should break it down until you find the absolute cause of the problem. It’s about being exact here, not general. Usually it’s a finger that is not performing just right, or maybe a certain combination that’s giving you a headache. But no matter what it is, it’s a pretty safe bet it won’t be resolved until you can actually identify it.

Here are some techniques to help you break things down

– Isolate the problem section to the smallest degree possible. In other words if your trouble area is situated at a specific measure, make sure you focus on it and examine that and not the whole section. But if it is a just a couple of notes, or one chord switch that’s giving you problems then concentrate on that.
– Play the problem measure with ONLY your fretboard hand. Play it as if you were playing it with both hands in regular tempo. It may also help you to mentally hear the music and mime the fretboard hand along with it. Is it working? Can all the fingers play the right notes at the right time without difficulty? Now, how about the plucking hand by itself? Play the problem area only with your plucking hand. At first this may seem a little hard because most guitarists concentrate their attention on the fretboard hand and therefore when the fretboard hand is taken out of the equation they become lost. If you find yourself a bit disoriented play the measure in question with both hands and memorize the plucking hand, after that try to play it only with a right hand. Ask yourself: is it working or does it feel as if you’re stuttering and tripping instead of having a smooth execution? It could be a speed barrier that you’re facing if playing slow seems to work.

Now that you have located the problem area it’s time to work it out. Once you know what you’re striving for you’ll easily be able to get over those bumps in the road and find that your playing instantly gets better.

How to find chords and scales using simple formulas.
The only musical knowledge you need is the ability to read the melody line and how to find the notes on a keyboard. If you can do that playing keyboard is easy. If you can’t do that please visit your local library and borrow a book for beginning piano.

Did you know that a keyboard can be played using mathematical formulas? Well, it can but some people find it difficult to get to grips with maths. However, with this system you only need to be able to count up to nine. Now, there are seven very simple formulas to help us find all the scales and most of the important chords. Here they are:
2212221: Scales.
4 + 3: Major chords. = Triad ( 3-note chord).
4 + 3 + 3: Major 7th. Chords (4-note chord).
4 + 6: = Major 7th. Chords = (3-note chord).*
*This is easier to play but I recommend you go for the full, 4-note 7th. chord using inversions.
3 + 4. Minor chords. = Triad (3-note chord).

3+4+3. Minor 7th. chords. (4 note chord).
3+3: = Diminuished chord.
4+4: = Augmented chords.

And that’s all there is to it. Who needs chord charts? Just remember the 7 formulas above and you will be able to find all the scales and all the most widely used chords on a keyboard. And the great thing about this system is that you don’t actually have to remember loads of scales and chords because, with these formulas, you already know them all!

Here is how it works:
Finding the scales.
Let’s start where everybody starts from – Middle C.
Every note which we start with, for our formula, is always the ‘Home Note’, also called the ‘Root note’, and is zero-rated. In other words it is never counted. See below:
C scale. C is zero rated because it is the Home note.
C D E F G A B C
0 2 2 1 2 2 2 1
If you start at C and count every note from there – including the black notes – using the above formula you will play the C scale. C is the home note. Now count 2 and we hit the D. Now count 2 again and we hit the E, now count 1 and we hit F, and so on. No matter which note you start on – as the home note – you will always end up playing the correct scale. Try it out for yourself right now. Easy, isn’t it. In about two minutes you have learned how to play every scale there is. Great! Look at the scale of Bb below:
Bb C D Eb F G A Bb
0 2 2 1 2 2 2 1

Now for the best part!
How to play all the most important chords without having to remember how to play them all. And remember, count all the notes including the black ones but not the home note. Major chords.
Let’s start with C again:
Formula: 4 + 3

C is Home note. Count 4 which takes us to the E, then count 3 which takes us to the G.
So C + E + G is the C chord.

Now try Eb.
Eb is the Home note. Count 4 which takes us to the G. Now 3 which takes us to the Bb.
So – Eb + G + Bb – is the Eb chord. And there you have it.
I love this system.

Major 7th.
Formula: 4 + 6. (3-note chord).
Formula: 4 + 3 + 3. (4-note chord). (Major chord formula + 3).
C7: Home note C + 4 is E + 6 is Bb. ( C + E + Bb ) 3-note chord.

D7: Home note D + 4 is F# + 3 is A + 3 is C ( D + F# + A + C ) 4-note chord.
So, with the Major and Minor chords just add 3 to the count to get a 7th. chord.
Minor chords.
Formula: 3 + 4.
Let’s start with F# minor.
F# is Home note: Plus 3 is A + 4 is C#. ( F# + A + C# )

Ab minor.
Ab is Home note: Plus 3 is B + 4 is Eb. ( Ab + B + Eb )
N.B: Major and minor chords are usually always triads – 3-note chords. Seventh chords should always
be 4-note chords to give them depth.

To change a major chord into a minor just lower the second note – within the formula – one half step. ( semitone).
C major = C + E + F. The second note is E so lower it a half step to Eb. C minor = C+Eb+F.
G major: G + B + D. The second note is B so one half step back takes it to Bb. G minor = G+Bb+D.
Minor 7th.
Formula: 3+4+3. ( Minor formula + 3).
D minor 7th.
D is the home note: Plus 3 is F + 4 is A +3 is C. ( D + F + A +C). (The inversion of CDFA may be easier for you to play).
Most songs can be played using only the major, minor and seventh chords.
Diminuished Chords. (o,dim).

Formula: 3+3. G dim. ( usually written o, or dim )
G is the Home note + 3 = Bb + Db. (G + Bb + Db).
Augmented chords. (aug) (usually written +, or aug ).
Formula: 4 + 4. B aug.
B is the Home note + 4 = Eb + 4 = G. (B + Eb + G).

There are, of course, inversions to all the chords which you can easily work out for yourself. Any combinations of each chord will work on a keyboard. You simply choose the one which works best for you, or is easier for you to play. Sometimes you will not be able to play a particular inversion as it might
go beyond the ‘Split’ point on your keyboard. For example, I cannot play Bb7 on my keyboard in the first mode as it goes past my split point which
is the F below Middle C. So I play the inversion: F, Ab, Bb, D.
We are discussing here only the most widely used chords. The more experienced you become with your playing the less you’ll need the formulas.
But heh, if they help you remember your chords use them all the time.
To check your chords and inversions download a free Chord finder software package. Try Will Dallimore’s free keyboard chord chart.
As an exercise why not try to work out the formulas for 6th. and 9th. chords. You will not be called upon in your early playing days, as a beginner,
to play 6th. and 9th. chords on a keyboard, guitar players are more likely to use these.

Have you noticed that the Major, Minor, 7th, Augmented and Diminuished chords all have a formula containing combinations of only two numbers?
3 and 4.

Study all the above information and remember it. It’s not really difficult. Once you have these formulas committed to memory you will never have problems in remembering all the most widely used chords. As you can now see it is possible to play keyboard using mathematics.

Remember this!
There are thee major chords in each scale based on the 1st. 4th. and 5th. notes in that scale. If you played only the three major chords in each
song you play you’ll play to an acceptable level, but your playing would sound a lot better if you also played minor and seventh chords.

When counting the notes in a scale, for the 1st. 4th. and 5th. notes, the home note is counted as 1. So in the scale of C, the first chord (Note 1) would be C major, the second chord (Note 4) would be F major and the third chord (Note 5) would be G major.

As a beginner I used to work out the Key (scale) I would be playing in (2212221) write it at the top ofthe page, then I would write the Formula along side it. So the top of my page would look like this:
Scale = G. (G A B C D E F# G). Formula 4 + 3. Main chords = G, B, C. If I missed a chord I would simply play one of the three main chords for that scale and usually got away with it, but not always.
There’s only one thing left for you to do now – Practice!

Copyright Maurice Ellis 2007. More free music theory articles at: http://www.chordmusic.net/chordfinder.html. Email admin@chordmusic.net

If you’re going to take guitar playing seriously, owning your own as opposed to borrowing someone else’s guitar is a must.

Metallica Guitar Pro Tabs

Why? Having your own guitar is first of all going to be your pride and joy, and second you become accustomed to it after a while – it becomes an extension of your own body. Thirdly, you’re going to be practicing on it every single day so why not buy your own guitar?

Here’s a tip for you – When purchasing your first guitar, make sure it’s at a decent price and nothing too cheap. T here are plenty of cheap $200 guitars that are all made in China and they sound absolutely horrible and are difficult to play.

A well-made guitar just makes your guitar learning much easier and more enjoyable. Without going into too much detail, look for something around the $700 mark. Remember, you get exactly what you pay for!

Right, now that you’ve got a guitar you can start your journey of guitar learning. This will be a life-long process and it’s never-ending. Fret not ( pun intended ) though, it will be an extremely fun process!

Play EXISTING riffs and patterns with speed and accuracy click here

You will need to first get your hands on taking some beginner lessons. ” Where is the best place to start sourcing for guitar tutorials? ” I hear you ask.

The fastest way to get started is by looking for online guitar lessons. These are great as you can get started right away and you probably won’t have to read thick, boring manuals.

Most of the online lessons you find will be free, however you should pay for a decent guitar course because there will be much more value for your precious time spent learning.

The paid guitar courses will go into more depth in teaching and will usually get you learning guitar with a systematic approach.

Baby Steps For Beginner Guitar Lessons

Many of the online guitar lessons will start off teaching the most basic aspects of guitar playing. Some of which are:

- Showing you the right way to hold a guitar and the pick
- Knowing the different parts of the guitar, their names and functions
- How to change strings
- Guitar playing posture ( sitting and standing etc )

And the list goes on..

Other things that are taught are how to play chords, starting with the most basic forms to some more complex guitar chord forms that sound a lot nicer but will require you more time for your fingers to get used to.

Guitar Theory Is Not Required!

Some of the guitar courses will teach you some elementary music theory, some will teach you way too much theory ( boring you to tears ), and others will teach you almost zero theory.

There are different schools of thought with this one, and I found in my own experience that theory although important is not mandatory for a beginner. Too much theory is one of the main reasons why most people who start out learning to play guitar end up quitting!

Guitar theory, I feel is on a ” need to know ” basis. As you progress in your learning, you will either naturally pick up some music theory in your head, or you will go out in search of answers.

This is the natural way of learning and probably the best. Either way, you will end up at the same destination in the end.

The most important thing is to get out there and start learning today! There is nothing holding you back and all the information you need for learning guitar is out there and easily accessible.

Just remember to find a course that teaches you systematically and don’t go pushing yourself too hard beyond your current abilities – it doesn’t do anything but make you form bad habits.

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Which are the best tonewoods to look for when buying a guitar?

Wood is one of the largest determining factors of a guitar’s sound and durability. The woods which are used to build guitars, are often referred to as tonewoods and are selected for their resonant tonal properties. These woods are not primarily chosen for cosmetic reasons, but instead are intentionally selected to give the guitar a specific sound.

The luthiers (guitar makers) at Takamine believe that the wood chosen for the top (the front of the body) is the single most important factor in determining the quality of tone of the instrument. Guitar tops are either solid (one piece of wood) or laminated (constructed from multiple layers). Solid tops are generally more expensive, but deliver greater resonance and projection, resulting in alouder and clearer sound. Another benefit of solid top guitars is that the tone often improves with age. Laminated veneer tops resonate less than solid wood because they are made from several thin plies of wood pressed together which absorbs more of the sound. However, they are cheaper and stronger which makes them a good choice for children.

The wood used in construction can take on different characteristics depending on which part of the guitar it is used for. The wood used for the neck and fretboard can also enhance or constrain the tone of the guitar as well as it’s playability.

Mahogany is primarily used for the for back and sides of acoustic guitars. It is the most popular hardwood due to it’s relative low-cost, durability, attractiveness, and resonance. It has considerable density compared to other woods. Mahogany-topped guitars have a strong “punchy” tone that is well suited to country blues playing and produces a solid tone with low overtone content. When used for back and sides, mahogany creates great overtone coloration. The response of rosewood is often described as ‘quick’ meaning that it is extremely dynamic, while the tone is very warm and rounded with an emphasis on the mid range. Mahogany used in the guitar neck produces a warm natural tonal range.
Koa is a dense tonewood which comes from Hawaii and has been used for soundboards since the 1920s. This hardwood produces a solid tone that responding best at the upper end of the dynamic range Koa has a somewhat more mid-range tone with the warmth of rosewood and much of the brightness of Mahogany. For back and sides, Koa tends to exhibit the same characteristics as mahogany in terms of adding tonal colouration, but it’s emphasis lies with solid, pronounced mid tones, beautiful lows and well defined, but not sparkling, highs. This wood responds very well to firmer playing.

Rosewood has a beautiful range of brown and purple colours and makes a warm rich sounding guitar with great resonance and volume. Brazilian rosewood is no longer available in commercial quality or quantity and commands a high price. It has been replaced in most cases by Indian rosewood. Both types of rosewood carry a broad range of overtones offering full bass, defined but warm mids, and punchy highs. Rosewood is very highly regarded as a tonewood for building acoustic guitars. Indian rosewood has a thicker, more mid-range overall coloration. Brazilian has better clarity in the bottom and a almost bell like tone in the trebles. When used for necks, Indian rosewood can help fatten up the mid-range.

Spruce is the most commonly used wood for the soundboard or ‘top’ of the guitar. It’s stiff, yet light characteristics give it a bright, clear tone. The most commonly used species being Sitka Spruce. This wood, which comes from the west coast of the United States and Canada, makes a very strong, loud guitar which has a balanced resonant sound with good sustain. Whilst not capable of retaining its clarity when played with a light touch, Sitka is an excellent choice for top wood for players whose style demands a wide dynamic response and a robust, meaty tone. Sitka shows a very strong tendency to improve with age, perhaps more than other woods. Red spruce, like Sitka, is has a strong fundamental mixed with complex overtones. The top produces high volume whilst retaining a full, rich tone which retains clarity when played lightly and forcefully. This is one of the top woods for acoustic steel-string guitars and is generally found in the more expensive range of acoustic guitars.

Maple is a hugely popular wood for necks and fretboards and is the wood of choice for electric guitar tops. It is also used for the back and sides of some Takamine acoustic guitars. It’s tonal characteristics exhibit clear upper mid range and high frequencies along with a tight, focused output and good sustain. It has the same density as hard ash, but is much easier to finish due to it’s tight grain. Hard Maple is tough on factory tools so it’s generally used for slimmer guitars. It really shouts with bright highs and strong upper mid-range.

Different species of maple, such as big leaf, sugar, and bear-claw tend to be used for acoustic guitars. This nature of the wood allows the tonal characteristic of the top to be heard without the addition of significant tonal colouration. Maple necks can impart a bright tone helping to emphasise the top end of a large-bodied guitar.

Alder is a highly resonant lightweight wood Similar to Basswood, producing full rich tones. When used for solid-body construction, alder provides a very good low end and midrange with the best performance in the lower mid range. Alder also exhibits good high-end characteristics and sustain.

Basswood is mostly found oninexpensive guitars. It is a soft, lightweight tonewood, which is easy to work with in the factory, easy to cut, sand and finish. It’s softness tends to dampen sharp highs and soften them. The softness of Basswood also often results in a weaker low end which suppresses the resonance of the sub-lows. The reduction in these outer frequencies leaves the mids pronounced in a hypothetical response curve.

Sapele is a dense tonewood with a look similar to mahogany, but with a very distinctive striped grain. Being relatively dense, the sound of Sapele is crisp, clear and bright while retaining a good level of warmth in the lower ends and lower mids. This type of wood is mainly used for the back and sides.