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I've always wanted to learn to improvise as I considered the art of improvisation to be the ultimate discipline of masters. However, path to perfection is crooked and full of traps and it took me some time to really understand the basic principles as these (and sometimes even the online lessons explaining them) can often be quite confusing. I will try to connect all the knowledge I have acquired over the time, to help anyone with the same ambition I had. I’m not a great improviser and my skills are lacking in many ways but I think that this can be to advantage of this lesson as I'm very familiar with problems of “beginning” guitarists-improvisers since I was on this level for quite a long time. After all, an old joke says that you can teach music if you are at least two lessons ahead of your student. Anyway, let's skip to the point. We will begin at the same place as any other lesson would - pentatonic scales. Pentatonic scale is a scale consisting of five notes (penta=five). Two most basic ones are major and minor pentatonic. They are usually the first step of beginning guitarists as they have many pros - they are quite easy to learn (which I'll be dealing with in part III) and first of all: if played from the right note, they don’t sound off-key and thus can be played at any time during a song. However, limiting yourself to 5 notes will greatly decrease your ability to solo interestingly. But we will deal with that later on. For now, just try to memorize these basic shapes and play around with them. YouTube is full of backing tracks and I highly recommend you choose one of them and spend some time with it. Just focus on choosing the right shape (usually it’s the minor one) and correct root note (it’s usually written in video description). Trivia no. 1: Saying that pentatonics are dull and boring is certainly not right. They are used in many kinds of music, including classical. Listen to "|---------------5(root)-7--||-------------5-7----------||----------4-6-------------||--------4-7(root)---------||-----4—7------------------||--5(root)-7---------------|We will come back to this in part III. Now we need to enrich this scale so that it gives you more options. * If you don’t understand this notation, I recommend following lesson. Simply put, you can think about it as variables in math that allow you to talk in all keys at the same time. If you say that the scale or chord consists of 1, 4, b5, then everybody knows right away that in C they would use C, F, Gb; in G G, C, Db and so on. Pentatonic scales, consisting of 5 notes while standard scales contain 7, offer some ways to enhancement. Their sound can be enriched by adding notes outside of these five that sound well or particularly interesting. One of those is augmented fourth (#4) or flattened fifth (b5). These names come from music theory and tell you, that to get these notes you need to either flatten the fifth or augment the fourth by a semitone (the same thing - consider C major scale - C (1) – D (2) – E (3) – F (4) – G (5) – A (6) – B (7) – by flattening the fifth you get Gb, by augmenting the fourth you come to F#, those two notes are the same, they are said to be enharmonically equivalent), but players and composers have come up with some other names – in blues and jazz it’s often called the blue note because of its emotional qualities and in Medieval Ages, this interval was thought to have come from the devil himself, so they dubbed it "diabolus in musica." Another name is tritone because it consists of three whole steps. (C – D (first whole step), D – E (second), E - F# (third)) Enough of the history though and let’s talk about its practical use. Even though the blue note is heavily dissonant and harmonically extremely unstable, by careful approach we can turn this to our advantage, because disharmony is very useful when expressing emotions. You have surely heard some blues songs before (if not quickly google some B. B. King or Eric Clapton stuff). Have you ever noticed that all of these have something in common? Yes, it’s the blue note. They use it to create tension. And so can you. I will now provide you with a pattern of minor pentatonic with added blue note. You might have seen it before - its name is Blues scale. (To be clear, this interval is very common in every genre, it’s not blues specific at all) A Blues scale
|---------------5(root)-8---||-------------5-8-----------||----------5-7-8------------||--------5-7(root)----------||-----5—6-7-----------------||--5(root)-8----------------|Notice the differences and try to incorporate this extremely useful interval into your playing. Try bending into it, try bending out of it, try to use it harmonically, it’s your choice. After getting the sound of the blue note under your skin, try to focus on it while listening to solos of your favourite guitarists. It is that little disharmonic edge that makes them sound so well. In the next part, we will focus on finally using the whole neck using simple tricks and methods. Trivia no. 2: Blue note is used in popular music a lot. One example would be “The Inner Light” by Beatles but we could name loads of them. I’ve already mentioned the diabolical properties of this interval so it won’t surprise you, that when you listen to Black Sabbath song by Black Sabbath from album Black Sabbath, you’ll hear tritone right in the first riff. Guitar is a very visual instrument and there are some ways for us to use this to our advantage. I offer you three of them: a) Octaves This one is very simple. Let’s say you’ve just learned the A pentatonic scale in its basic position (5th fret). You can now move 12 frets higher and use the same pattern. b) Minor x Major relationship After you learn the minor pentatonic scale in its second position you will notice that the pattern is similar to that of the major version. It’s not by chance – they are both tied together by a certain relationship. I’ll let you discover that by yourselves as for our purposes, it will suffice to say that e. g. A minor pentatonic pattern from 5th fret is the same as C major pentatonic from 8th (i. e. from its root). Now you do not need to learn new positions for both the minor and the major pentatonic scales, you just need to know them for one of those if you know how to work this accordingly. Bear in mind however, that now the functions of the notes have changed. You will no longer find the root (A in this example) on the root position of the major pattern as there is now a C. A minor pentatonic played from C (aka C major pentatonic pattern)
|---------------8-10--------||-------------8-10(root)----||----------7-9--------------||--------7(root)-10---------||-----7—10------------------||--8-10---------------------|c) “4 next to 2” This "rule" I have kind of come up by myself. I have noticed that in the vicinty of the basic minor position when we have the big stretch, it is USUALLY followed by a smaller one. Let me show you what I mean: A pentatonic
|3-(short)-5-(long)-8-(short)-10||3-(short)-5-(long)-8-(short)-10||3-(long)-5-(short)-7-(SHORT)--9||3-(long)-5(short)-7-(long)---10||3-(SHORT)-5-(short)-7-(long)-10||3-(short)-5-(long)-8-(short)-10|...and voila, you can now play in 6 different positions without much work. Discovering this made my working with these scales a lot easier. I hope it has been explained clearly as I believe it can have the same effect on anyone. * * *This will be enough for today. Next time we will dive into the real deal and take look at colouring your newly learned pentatonics, we will talk about sensible use of those famous modes, we will explore chromaticism and many other more advanced concepts. It will end with an article attempting to connect this theoretical knowledge into something that works and sounds well. For now, practice what we have learned and take care.
When I started playing guitar, I first learned the traditional open chords from a Mel Bay guitar book (I always think of them as the "Mel Bay chords"). It seemed like a lot of work to memorize a lot of different chord shapes. Then I learned bar chord and this just doubled the number of ways to play chords. Later, after learning about the notes making up the chords, I realized they were all pretty much shifted versions of the same basic chord shape, up-down, left-right, and I'd wished I'd noticed this much earlier. First, your basic chord is made up of usually a 1st, 3rd and 5th note. The the 3rd can be each a minor or major 3rd (depending on whether we're making a minor or major chord). For now, we're going to confine this discussion to just simple major chords. We'll first break down chords into those where the string below the root (1st) note is the 3rd or the 5th. If it goes down a string and to the left (towards the nut), it's the 3rd. If it goes down a string and down the right (towards the bridge), it's the 5th. Whenever we have a chord with the 3rd, we'll also add the 5th on the next string below the 3rd. Here are examples for a C-chord. The first is 1-3-5 (the first three notes of an open C-chord). The next is 1-5 (skipped the 3rd, for the start of a bar C-chord).
In my opinion, the minor pentatonic scale is the most important scale that you need to master for rock guitar. Why? Because there is an absolutely vast number of rock guitar licks that use it. I personally can ' t imagine trying to improvise in a rock style without inserting at least a few tasty game minor pentatonic ideas into my solos. :-) Even though the pentatonic minor scale is really vital opener, it's often surprising to me that some rock guitarists don't take the time to explore it fully. They just learn the five two-note-per-string box patterns, and don't move beyond them. While the traditional methods of playing the pentatonic minor scale are fantastic, and you shouldn't learn them with definitely, I thought it would be fun in this guitar lesson to show you another approach to playing this wonderful scale. So let's jump right in and s take a look at it. Probably the best way of explaining this method of fingering is with a specific example. So let ' s work out a fingering for the unison D Minor Pentatonic scale. Dm Pentatonic Scale: Scale Degrees and Note Names
Now that we've chosen a scale now, let's create a minor pentatonic fingering by unison join together only two fingerings. For this example we'll be Fingering Fingering 2 1 and join together. Minor Pentatonic Fingering 1 and 2
It would be a great idea to play through both of these fingerings now. Once you've done that, then check out "the unison fingering would look. Dm Pentatonic: Unison Fingering
You'll be wondering why l I call this a unison fingering. Well, to answer that we need to take a closer look at the fingering. Minor Pentatonic Fingering Unison 1: Explanation One
If you were to play through the first four notes of the unison fingering shown above, then you would need to do the following. Play the 10th fret on the E-string thick. Play the 13th fret on the E-string thick. Play the 15th fret on the E-string thick. Play the 10th fret on the A string. I recommend playing through these four notes now. If you do that, then you'll notice that the third and fourth notes you play are exactly the same pitch. (This is why I've drawn an arrow on the diagram the fretboard between those two notes). In music, two notes that are exactly the same pitch are referred to as a unison interval. If you were to continue playing through the fingering, then this happens each time unison interval there is a string change. Here's the same scale fingering with all the intervals shown unison with arrows. Minor Pentatonic Fingering Unison 1: Explanation Two
I must admit that I don't particularly like the sound of the fingering when it's played just as a scale. (The unisons sound weird to me-especially when the scale is played at slow speeds fingering). For this reason and I don't play with light to the fingering in a straight up-and-down fashion. Instead, what I like to do is use the unison fingering as a tool for coming up with new minor pentatonic licks. So let ' s take a look at an example lick that is based around the fingering that we've just talked about. D Minor Pentatonic Lick-Example:
Hopefully you can see from this example, that lick the unison makes it easy fingering to play musical ideas that wouldn ' t be possible using traditional minor pentatonic fingerings. Although you don't need to learn the lick, it would be a really good idea to analyze it so that you can see how I've used the notes from the unison fingering. Once you've done this, you could then try coming up with some monster pentatonic licks of your own! :-) I hope you enjoyed this guitar lesson. If you invest some serious time into learning and experimenting with what we've just talked about, I have no doubt that it will open you up to many new soloing possibilities. Have fun with this stuff! About the Author:Craig Bassett is a professional electric guitar teacher living in Melbourne, Australia. If you enjoyed this lesson, then be sure to subscribe to his newsletter is now training hard rock guitar. 
A power chord is any chord that can be played using three or less strings on your guitar. Power chords are used in a ' variety of different musical genres, but they feature most prominently in Punk and Metal. Example of a power chord:
In a power chord is a chord that consists of the root note and the fifth interval. Power chords are played on amplified guitars, especially on electric guitar with distortion phenomenon. Power chords are a key element of many styles of rock music. Power Chords are sometimes labeled by their root note with the number 5 to identify them: C5, D5, etc. The power chords below will show you how to play a chord progression using power chords on the 5th and 6th strings guitar. Let ' s try a G power chord - G5:
Inroduction: In this article I want to show you how easy it is to connect various sets of different phrases using different techniques over a section of music that is being played in the 5th Mode of Harmonic Minor, something similar to what the great Yngwie Malmsteen might use to express a certain emotion in one of his solos. The key we are in is the key of A Harmonic Minor. We have the notes A, B, C, D, E, F and G# in this particular key. For the rhythm parts we are droning the low open E string to emphasize the 5th mode of the A Harmonic Minor key for that "gritty" sound the V chord so eloquently communicates. There are two full diminished 7th chords on bar 14 and 15 respectively. We are using the G#dim and Bdim chords, which is actually two inversions of the same chord if you have a look at the notes each chord contain. You can click on the following link to see a video of myself playing the lead part of this lesson. Be sure to look under the "Articles" tab for a free download of the notation I used in this video recording. Bar 4 - 7: Here we see a single string lick played all the way up to the B note and then bent up a half step to the C note. This note is very dissonant over the E chords being played as this chord contains a B note. The C note from the lead Guitar "clashes" with the B note from the E chord and this is the reason for the massive tension being created at the end of this particular phrase. Vibrato to the bent note is also applied here to express even more emotion. Bar 10 - 11: Here we use a normal descending scale using 16th note triplets to really get the speed going. We end on a G# note but use a half bend up to the A note for tension over the E major triad. We quickly take that note down to the G# again which is a consonant (Note in the chord being used) pitch. Again a wide aggressive vibrato is used at the end of the phrase. Bar 12 - 13: Here we use a succession of sweep picking arpeggios over the E major chord. We mix up 5 string arpeggios with 3 string arpeggios and also move up to the next inversion of this particular arpeggio to land up on the B note. Bar 14 - 16: In this little section we are using the diminished chords as described above. The lead Guitar is outlining the chord by simply playing a 3 string diminished arpeggio which moves down the fret board. The nice thing about this diminished shape is that it is a symmetrical shape which stays the same, all we have to do is move it a minor 3rd up or down. This is one of those licks inspired by the great Neo-Classical virtuoso’s and sounds great. Bar 15 has a very fast sequenced lick followed by a huge bend from C# (Which is actually a very dissonant pitch) bent all the way up to the E note. Bar 17 - 18: Here we borrow a standard pedal tone lick from the great masters to get that "baroque" sound going. This is one of my favourite things to play over the V chord for added tension and effect. Bar 19 - 20: In these two bars we simply descend in the scale to the low G# note. This sets us up nicely for the run following the descending lick. Bar 21 - 26: This is one of my favourite sequencing tricks. We use a 6 note pattern with 16th note triplets. We start in the low register of the Guitar and work ourselves up all the way across the fret board and then move up higher and higher on a single string, all the time keeping with the same pattern of 6 notes until we reach the end of the phrase where we bend the D note to the E note and apply some vibrato to the final note. It can be applied by the fretting hand or simply use your tremolo arm by pressing on the back of your bridge and releasing it to the normal position multiple times in a rhythmic way. A Final Word: There we have a quick run through of all the licks and techniques I used here to create the solo. This is just an example of the things I would play over such a section of music. By no means are these the only things a player can play in this context. The key here isn’t to get hung up on the things I showed you here, I challenge you to come up with your own variations of the above and create your own style of soloing. I am sure you can create even better material than what I have shown you here if you invest a little time to learn the particular scale and play around with different variations of sequences and licks. The other elements of music can also be changed up to create even more tension. An example might be to have the rhythm Guitar and Drums play 16th notes to get a double bass feel. This will make this piece sound even faster and more aggressive. You can also modulate to a different key and play in the 5th mode of that new key. Standing right next to each other creates an epic feeling of tension and will grab the listener by the throat, in a very good way of course. About The Author: George ShredKing Engelbrecht is a Neo-Classical Guitar Virtuoso in Vredenburg, South Africa. Visit GeorgeShredking.com and sign up to his newsletter for more information about practicing effectively and to keep up to date with his latest releases.
When buying a first guitar the first thing to consider is what you want to play and what you listen to. If you like jazz or softer sounds you might want to by a hollow or a semi-hollow body 
Because I figured it would help, here are the three easiest ways to tell if you need to replace guitar strings. What I mean by this is that, if you use a tuner and it won't register what type of note you're playing, then there's definitely a problem. Sometimes it may be the tuners fault, but if the unregistered notes have an unintentional grinding noise to them, I would advise just changing the strings. From personal experience, the only thing you're going to achieve by continuing your attempts at tuning the "grind" string is that you're going to have a broken string. If you know how to do guitar techniques, such as sliding, string bending or power chords and you're now getting a flat sound from all attempts to use these techniques, you should apply more pressure to the strings, but if the problem or problems persist for more than a couple days after you've been applying pressure, then it's probably time to put some new strings on your instrument. Trust me, it will help. Finally, the fairly obvious one: If you haven't replaced your strings ever and you bought your instrument over one year ago, you probably need to change your strings. They get worn down with continued use and if you play guitar enough to be on this website, you have most likely worn out any "default" strings that were on your guitar to begin with, so, if you have the money and you're guitar's not acting the way you think it should, go to a music store and get yourself some replacement strings. IMPORTANT: When you're buying strings for the first time, be sure to have someone at the store show you how to change strings. It'll probably cost a bit more than doing it yourself, but their advice is worth it! 
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