#to E on G string played with fourth finger in third position

[canmom]

Music theory (for science bitches) INTERLUDE A - what's with a guitar?

Got to play guitar for the first time in me life last night! Answered a lot of questions about one of the world's most common instruments, some I knew I had, some I didn't.

So here's what I picked up.

Tuning

The guitar I tried playing was an electric guitar with four strings that had been modified to be tuned in fifths, which apparently makes it similar to a tenor guitar - a familiar tuning for me since the violin and erhu are also tuned in fifths. But guitars are usually tuned in fourths.

'Tenor' here isn't really referring to a specific range the way it does in regards to singers - it seems kinda like more of an adjective meaning 'higher than usual and tuned in fifths'. So you can have the strange-sounding 'tenor bass' guitar. Although with the more obscure guitar variants, the language seems to be kind of a free-for-all.

Tenor guitars are usually shorter than regular guitars, and with different strings, but ultimately as long as you don't break the strings, you can tune to whatever frequencies by adjusting the tension. The standard guitar tunings are ultimately a matter of convention.

Besides that, the major design differences between a guitar and a violin type instrument are... the strings are arranged flat rather than in an arc, and they have frets.

The flat arrangement makes it much easier to play chords. You can simply move your fingers, or plectrum, in a straightish line and hit multiple strings.

Frets are metal rods which protrude from the fingerboard, and they make it much easier to hit particular pitches. You press the string behind the fret (further from the bridge/soundbox), and this holds the string against the fret, reducing the vibrating segment to an exact length. So there's no need to train your muscle memory and ear to recognise whether your fingering is in tune, as is the case on violin, erhu and the like. But it does make pitch-varying techniques like vibrato require a different approach. More on that in a bit.

The frets are positioned in semitones. There are some little dot markings that indicate the major third, the fourth, the fifth, the major sixth and a double dot for the octave, which helps with navigation.

Due to the way guitar strings are tuned, the way you construct chords is a little counterintuitive. Let's take for example a standard minor triad chord.

On a piano, you play the base note, a note three semitones up from that (the minor third), and a note seven semitones up from the base (the fifth). This will generally result in your fingers being fairly evenly spaced, e.g. A minor looks like...

On a guitar it's a bit more complicated. Intuitively, you might expect to play the three notes in this chord in order, on strings of increasing pitch, but if you try this you would conclude realise that the gap between strings is larger than a major third.

So, the strings I had were tuned DAEB (similar to a violin, but without the G on the bottom, instead gaining a B on top). If you want to play A minor you need to play A, C and E. The A and E can be played on open strings, but what about that C? It lies in between those two strings.

So, I thought, what if I played the C on the D string underneath the A? In that case, you'd put your finger on the 11th fret of the D string and strum the D, A and E strings. That would hit the same notes you would hit on a piano, just arranged differently on the instrument...

However, that is not how guitar players normally form chords. The reason is that, while this may work for open strings well enough, if you wanted to play a minor triad further up, it doesn't really work at all: there's no physical way your hand can be up at the top of the guitar on some strings and all the way down at that C for others.

Instead, guitar players take advantage of the convention of octave equivalency and play the next C up. This can be reached on the B string very easily, so for this A minor chord, you can play it on A, E and B:

On a piano, this chord would look like this:

This would be a goofy thing to do on a piano, but it makes things much easier on guitar.

In terms of the resulting sound, this will shift the fundamental of the C up an octave, and remove a certain proportion of the overtones - more on that in the upcoming next part of the music theory notes (for science bitches) series. So it will affect the timbre of the sound. However, it will still generally sound like A minor.

That's all well and good if you've got open strings in your chord, but what if you want to play, say, B minor? Well, you can use one of your fingers in a technique called a 'bar', which simply means you hold your whole finger against the fingerboard to press all the strings at a particular fret...

This essentially lets you calculate the chords in the same way as you would at the open strings, so you can just memorise the general shape of minor chords and slide it around.

My friend came up with a few little chord progressions for me to play. For communicating them she would say like 'ok then play 2 2 0 0' with the numerals communicating which fret/semitone to play - I believe this is similar to the notation used in tablature. (In this case that would amount to E B E B, a doubled-up 'power chord'). She figured out the progression pretty intuitively - when we worked out the names it turned out to include a variety of suspended or diminished chords or one chord over another, and other such things. (She had a phone app that would let you put in the positions and would tell you a name).

One of the cool features of a physical instrument is that you can just try shit. It was very informative to see how chord progressions come together and how the different voices seem to relate to each other.

The mechanics of playing the thing

The other major difference with guitar is like... damn those things are long!

Although the body of an electric guitar does not have to act as a soundbox, the shape of the guitar still turns out to be way more constrained and thought-out than I realised. There are all sorts of cutaways designed to help the guitar balance comfortably on your leg, sit comfortably against your abdomen, and so on. The 'horns' of the guitar aren't just decorative: they allow you to slide your hand further down the neck.

I got to see an ultra-light 'headless' guitar where the tuning pegs are at the bottom end, which saves weight. There are all sorts of little nuances about where the cable goes and so on.

The most awkward part was really the hand that goes on the neck and plays the chords. The frets help but they don't go that far.

Honestly, making chords on a guitar... my fingers are apparently pretty long, but it still felt like I'm contorting my hand, like I could feel the tension so much stretching across even a few frets. By the same token, pressing the strings was ouchy. It was the same on the zhonghu when I started though, so I'm sure if I kept at it I'd get the callouses I'd need to not feel painful anymore.

It can be quite important where you place your fingers between frets. Too far from the fret, and you don't create a good contact, so the string doesn't sound properly. Too close to the fret, like if you're right on top of it, can also be problematic. You have to apply enough pressure to hold the string firmly against the fret. All of this impressed on me how fiddly it is to play one of these things, let alone do it in a showy ostentatious way like guitarists do.

Strumming was also a bit fiddly. Unexpectedly, the biggest problem I tended to have was strumming too hard. With all the amplification involved, it seems you want a really light touch, just brushing the plectrum (or fingers) against the strings.

It turns out there's some complexity to strumming and plucking. My first instinct was to just go up down, up down, but it seems like actually the best approach is to alter the direction for different musical phrases, so sometimes you want to go two 'ups' in a row or two 'downs' in a row with something like a 'null stroke' in between to get your hand in position. This apparently just comes intuitively to an experienced guitarist, just like bowing does to an experienced violinist or erhu player, but maintaining the pattern definitely added to the cognitive load of the instrument at my level.

The guitar I was playing had a "synchronised tremolo bridge", similar to the one in the picture, meaning it was on a kind of levered spring anchored only at one end. Unlike a violin or erhu, the bridge of a guitar is very very close to where the strings are anchored, and adjustable per-string. The lever you see on some guitars is used to tilt the bridge while the strings are sounding, creating a vibrato (oscillation of pitch) effect. (I don't know why it's called a tremolo bridge rather than a vibrato bridge. In classical music 'tremolo' refers to either playing a bunch of the same note really fast, or oscillating volume. But this bridge definitely primarily affects pitch.)

(Incidentally, some guitars have non-parallel bridges and frets designed to give the lower strings more distance to play with which affects the relationship between string weight, tension, and pitch - it's a whole thing apparently.)

You can also create a vibrato effect by wiggling the string sideways against the fingerboard to adjust the tension in it.

The electric part

The big difference between an electric guitar and an acoustic guitar is that the vibrations in the strings are used not for the sound they make directly, but as an input into a signal chain.

I had wondered for a long time how guitar pickups work. It turns out they work by magnetic induction; the string is made of ferromagnetic material and the pickups have little magnets in them which induce a magnetic field in the string, and the vibrations of this magnetic field are picked up by an electromagnet inside the guitar. This has the interesting implication that an electric guitar does not require a medium to generate a sound, so it would work just fine in space (though of course the amplifier must be in air to transmit sound).

There are multiple sets of pickups at different points along the string, which means they get different sets of overtones depending on the amplitude of the different standing waves near that pickup; there is a little liver on the face of the guitar which allows you to adjust which pickup is active. Selecting the pickup closer to the bridge is effectively a kind of mechanical high pass filter on the strings.

The weak alternating current created by the vibrating strings is then passed along a shielded coaxial cable to an amplifier. This creates an opportunity to mess around with that signal - to add reverb, equalisation, etc. or more purely electric effects like 'phasing' and 'flanging'.

The 'distortion' effect so widely used in rock and related genres comes from multiplying the signal pre-amplification to the point that it saturates the amplifier, resulting in an effect similar to digital clipping. Traditionally this was done by literally boosting the signal louder than the amp's tolerances (referred to as 'gain' by guitarists), but nowadays they've found ways to get an equivalent effect that are less likely to break the equipment. (Honestly, I liked the 'cleaner' sound of when the guitar was not clipping a lot more than the heavily distorted version, but it's worth noting here as one of the most well known guitar effects)

These effects are typically implemented using 'pedals' which are just a small circuit that applies a particular toggleable signal modification, making the whole chain of guitar - pedals - amplifier collectively act as something like a modular synthesiser. The guitar acts as a signal generator, the pedals and amp process it, and finally it's played out of a speaker.

This is not unique to guitars, the same principles would basically apply to any 'electric' instrument, but for whatever historical reason guitars were the instrument that became 'electric' first, and they're still by far the most common.

It was interesting to me how technical the whole setup is. The amp has all sorts of dials to apply built-in effects and adjust its tone response in various ways; the guitar also had a few.

Analogue instruments give fairly limited options to control timbre. So like, on the erhu for example - you have a huge amount of pitch control, you can do a lot to adjust dynamics with the way you move your bow, but for timbre there's only a handful of dimensions in the 'parameter space' and like, ultimately I'm finding my way to a 'best way to do it' where it 'sounds like an erhu is supposed to sound'.

Electric instruments on the other hand has a huge multidimensional space of timbre possibilities, so if you understand guitars, you can stand on an amp for a while zeroing in on the exact sound you want while the infatuated canmom sitting next to you gets increasingly hot under the collar. For understanding what's going on in guitar music, it's evident classical theory can only get you so far.

So...

...am I gonna start learning guitar too now? As much as I admire my friend's ability to play dozens of different instruments... not in any sort of serious way, erhu/zhonghu is gonna be my main instrument for a good while (and I physically could not take a guitar home with me anyway with all the shit I'm carrying). But it's very interesting to see other parts of the string instrument space, and definitely gives me a better appreciation for all the things guitarists are doing.

Music's cool, I regret that I stopped playing... but now's definitely a good time to get back into it!!

[whatsonmedia]

Unlock Your Musical Potential at WhatsOn Music Academy

Welcome to the harmonious world of WhatsOn Music Academy,We are a progressive music academy that offers a variety of programs and courses to help you unlock your inner musician. Whether you want to learn how to play the guitar, sing in a choir. You can develop your skills as a recording artist, we have the program for you.

Music education should be accessible to everyone. We share music with all, despite backgrounds or abilities. Lessons at various prices, open to all levels.

Music can be a powerful force for good in the world. Music unites, expresses, and uplifts. Our mission: spreading joy and positivity through music.

Our students are unique individuals with their own unique talents and gifts.We empower students to discover their unique musical voice and be their authentic selves.

We believe in immersing our students in the art of guitar playing. We teach guitar fundamentals while inspiring students to create and share their music.

Get ready to immerse yourself in the art of guitar playing and discover the true essence of Guitar playing. And discover the true essence of Guitar and ukulele Lesson.

Join our professional learning class on 26th April at 10:00 AM UK time and 16:00 PM BD time. As we unveil the secrets to mastering The Guitar lesson at WhatsOn Music Academy. Elevate your skills and expand your musical horizons by joining this transformative learning experience. Register now!

guitar barre chords major- F,F#,G,G#,A,A#

Barre chords are a fundamental technique for guitarists, allowing them to play major chords in a movable form.

F Major Barre Chord: To play the F major barre chord, place your index finger across all strings at the first fret. Then use your other fingers to form an E major shape on the 3rd, 4th, and 5th strings.

F# Major Barre Chord: Slide the F major shape up one fret to the second fret to play an F# major barre chord.

G Major Barre Chord: Move the F major shape up two frets to the third fret to play a G major barre chord.

G# Major Barre Chord: Shift the same shape up one fret to the fourth fret to play a G# major barre chord.

A Major Barre Chord: Move the F major shape up two more frets to the fifth fret to play an A major barre chord.

A# Major Barre Chord: Finally, slide the same shape up one more fret to the sixth fret to play an A# major barre chord.

Practicing these barre chords in different keys will enhance your fretting hand strength. d dexterity, enabling you to play a wide range of songs and progressions.

Class Curriculum: 🎸🎹

Exercise

guitar barre chords major- F,F#,G,G#,A,A#

Open Mike

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[bestguitarsavail]

D7 Guitar Chord – Best Ways to Play D7 Chord on Guitar

If you are seeking to infuse some zest into your chord collection as a guitar player, the D7 Guitar Chord presents an excellent option. Furthermore, musicians can deftly apply it to different genres like blues, rock, and country, making its versatility unmatched. In this article, we will delve into the most effective ways of playing the D7 chord on guitar. Additionally, we will incorporate helpful variations and techniques that ensure you can leverage the full potential of this renowned chord.

What is the D7 Guitar chord?

The D7 guitar chord holds significant significance in the music world, primarily due to its dominant seventh tonality. Comprising four notes – D, F#, A, and C – the chord seamlessly blends a minor seventh interval and a D major chord. As a result, it produces a distinct sound that sets it apart from other chords. Notably, this chord finds frequent use in rock, blues, and jazz genres.

How to Play the D7 Chord on Guitar?

Basic Of D7 Chord on Guitar

To successfully play the basic D7 chord on the guitar, there are a few key steps to follow. Firstly, the guitar player should be able to play a four-note chord consisting of the notes D, F#, A, and C. From there, the player will need to position their first, second, and third fingers correctly. Furthermore, it’s essential to leave the fourth string, also known as the D string, open to ensure the proper execution of the chord.

Firstly, begin by placing your index finger on the first fret of the B string (2nd string).

Second, Place your middle finger on the second fret of the G string (3rd string).

Third, Place your ring finger on the second fret of the high E string (1st string).

Leave the D string (4th string) open and do not play it.

Strum all six strings to play the D7 chord.

Musicians commonly use this chord in a variety of musical genres, including blues, rock, and country. Moreover, it’s a versatile chord that can add a lot of character and depth to your playing.

D7 Open Chord on Guitar

Playing the D7 chord with open strings and fretted notes is a versatile technique that has found extensive use in various genres of music such as rock, blues, and country. The chord’s four notes add tonality and complexity to the sound, and when executed properly, it can enhance the listening experience and invigorate the audience with harmonic richness.

1st Variations to Play Open D7 Chord

Firstly, Place your index finger on the second fret of the G string (3rd String).

Second, Place your middle finger on the second fret of the high E string (1st string).

Third, Place your ring finger on the third fret of the B string (2nd string).

And Place your Pinky finger on the third fret of the A string (5th string).

Strum all six strings to play the open D7 chord on the guitar.

2nd Variations to Play Open D7 Chord

First, Place your index finger on the fifth fret of the A string (5th string).

Second, Place your middle finger on the fifth fret of the G string (3rd string).

Third, Place your ring finger on the fifth fret of the high E string (1st String).

And, Place your pinky finger on the eighth fret of the B string (2 strings).

Leave the D string (4th string) open and Strum all the strings to play open D7.

3rd Variations to Play Open D7 Chord

First, Place your index finger on the eighth fret of the high E string (1st string).

Second, Place your ring finger on the tenth fret of the B string (2nd String).

And, Place your pinky finger on the eleventh fret of the G string (3rd string).

Leave the D string (4th string) open.

Strum all the strings to play this version of the open D7 chord.

4th Variations is Barre Open D7 Chord

First, Place your index finger on the fifth fret G string (3rd String) and barre Crossing to the high E string (1st string).

Next, place your ring finger on the seventh fret of the B string (2nd String).

Leave the D string (4th string) open and Strum all the strings to play the barre open D7 chord on guitar.

D7 Barre Chord On Guitar

Once you’ve mastered playing a D7 barre chord on the guitar, you can use the same chord shape to create a variety of chords by moving it up or down the neck. This makes it a versatile chord that’s widely used in different musical genres like blues, rock, and folk. Moreover, learning this chord allows you to play a D7 chord in any key, making it an essential skill for guitar players of all levels.

1st Variation of D7 Barre Chord

First, Place your index finger on the seventh fret of the D string (4th string) and barre across to the B string (3rd string).

Next, Place your ring finger on the eighth fret of the high E string (1st string).

Strum all six strings to play the D7 barre chord. Blues and jazz musicians often use this chord to add a pleasant tension and resolution to their chord progressions.

2nd Variation of D7 Barre Chord

First, Place your index finger on the fifth fret of the A string (5th string) and barre across to the high E string (1st string).

Second, Place your ring finger on the seventh fret of the D string (4th string).

Finally, Place your pinky finger on the seventh fret of the B string (2nd string).

Strum all the strings except the low E string to play this version of Barre D7 Chord on Guitar.

3rd Variation of D7 Barre Chord

First, Place your index finger on the tenth fret and barre across all six strings.

Second, Place your middle finger on the eleventh fret of the G string (3rd string).

Third, Place your ring finger on the twelfth fret of the A string (5th string).

Finally, Place your pinky finger on the thirteenth fret of the B string (2nd string).

Strum all the six-string to play this version of the Barre D7 Chord on Guitar.

4th Variation of D7 Barre Chord

First, Place your index finger on the fifth fret of the A string (5th string).

Second, Place your ring finger on the seventh fret of the D string (4th string) and Barre across to the B string (2nd string).

And Finally, Place your pinky finger on the eighth fret of the high E string (1st string).

Strum all the strings except the low E string to play this version of the D7 barre chord.

Popular Songs That Use the D7 Guitar Chord

Now, let’s take a look at some examples of how the D7 guitar chord is used in popular music across various genres.

“Sweet Home Alabama” by Lynyrd Skynyrd– “Sweet Home Alabama” is a classic southern rock song that uses the D7 chord in the chorus. The line, “Sweet home Alabama, where the skies are so blue,” is accompanied by someone playing the chord.

“Johnny B. Goode” by Chuck Berry– “Johnny B. Goode” is a rock and roll classic that features the D7 chord in the chorus. The subject plays the chord during the line, ‘Go, go, go, Johnny, go.’

“Hound Dog” by Elvis Presley– The chorus of “Hound Dog” features the use of the D7 chord and the line, “You ain’t nothin’ but a hound dog cryin’ all the time.” This classic rock and roll song employs this chord to give a distinct sound to the chorus.

“Jolene” by Dolly Parton– The chorus of the country classic “Jolene” includes the D7 chord and features the line, “Jolene, Jolene, Jolene, Jolene, please don’t take him just because you can.”

“Blue Bossa” by Kenny Dorham– Incorporating the D7 chord into its progression, the line “Cm7 – F7 – Bbmaj7 – Ebmaj7 – D7 – Gm7 – C7” in “Blue Bossa” stands out as a notable feature. As a matter of fact, this jazz standard prominently utilizes the D7 chord.

How to Use the D7 Guitar Chord in Your Music

Now that you have learned the D7 guitar chord, the next step is to effectively incorporate it into your music. To do so, it is crucial to understand when and how to use it. To help you out, here are some valuable tips on how to make the most of the D7 chord in your music.

Substitution- You can use the D7 chord as a substitution for other chords. For example, instead of playing a G chord, you can play a D7 chord to add a bit of variation to your music.

Chord Progressions- You can use the D7 chord in chord progressions to add a bit of color and tension. For example, you can use the D7 chord in a progression such as G – D7 – C to create a bluesy feel.

Rhythm Guitar- The D7 chord is an excellent chord for rhythm guitar because it’s easy to play and fits well in many different genres of music. You can use the D7 chord to strum along with songs or create your own chord progressions.

Common Substitutions of D7 Guitar Chord

The D7 guitar chord is an essential chord for guitar players, especially those who play blues, rock, and country music. However, sometimes you may want to use a different chord that still serves the same purpose as the D7 chord.

D9 Chord- Using the D9 chord as a substitute for the D7 chord can be a great way to add some variation to your music. Not only does it have a similar sound and feel, but it also includes an extra note – the 9th – which can add some interesting depth and complexity.

D13 Chord- Not only is the D13 chord a fantastic replacement for the D7 chord, but it also offers a jazzy and bluesy tonality that can enhance your playing.

D7#9 Chord- The D7#9 chord is a more advanced substitution for the D7 chord. It has a dissonant and edgy sound that can add tension to your playing.

D7sus4 Chord- The D7sus4 chord is a great substitute for the D7 chord if you want to create a more mellow and laid-back sound.

D7b5 Chord– The D7b5 chord is a great substitute for the D7 chord if you want to create a more tense and dissonant sound.

Tips for Playing the D7 Guitar Chord

Playing the D7 chord can be challenging for beginners. Here are some tips to help you master the D7 chord:

Practice slowly- Don’t rush when playing the D7 chord. Take your time to ensure that each note rings out clearly.

Check your finger placement- Make sure that your fingers are in the correct position on the fretboard. If your fingers are not in the right position, the chord may not sound right.

Use the correct finger placement- Use the correct fingers for each note. For example, use your first finger for the note on the G string and your second finger for the note on the high E string.

Keep your fingers close to the fretboard- Try to keep your fingers as close to the fretboard as possible. This will help you avoid buzzing or muted notes.

Experiment with different strumming patterns- Once you’ve mastered the D7 chord, experiment with different strumming patterns to make your playing more interesting.

Common Mistakes to Avoid while Playing D7 Chord

Here we’ll discuss some common mistakes to avoid while playing the D7 chord.

Not Fingering the Chord Correctly- One of the most common mistakes that beginners make when playing the D7 chord is not fingering the chord correctly.

Muting the Strings- Another common mistake that beginners make when playing the D7 chord is muting the strings. Muting occurs when a finger accidentally touches an adjacent string, causing it to not produce any sound. Make sure you position your fingers correctly and avoid letting them touch any adjacent strings to prevent muting the strings.

Strumming the Wrong Strings- Sometimes, beginners may strum the wrong strings while playing the D7 chord, resulting in a dissonant or incorrect sound. Make sure to only strum the four strings required for the D7 chord, which are the D, G, B, and high E strings, to avoid making this mistake.

Not Pressing Down Hard Enough- Another common mistake that beginners make is not pressing down hard enough on the strings while playing the D7 chord. This can result in a muted or unclear sound. To get a clear and resonant sound, make sure that you’re pressing down firmly on each string with your fingers.

Rushing the Chord Changes- When playing a song that includes the D7 chord, beginners may rush the chord changes, resulting in a sloppy or incorrect sound. To avoid this mistake, practice slowly and focus on getting the timing of the chord changes correctly before speeding up.

Conclusion

In conclusion, the D7 guitar chord is an essential chord that every guitarist should learn. While it may be challenging for beginners, with practice and patience, anyone can master this chord. By avoiding common mistakes such as not fingering the chord correctly, muting the strings, strumming the wrong strings, not pressing down hard enough, and rushing the chord changes, you can ensure that your D7 chord playing is clean and accurate.

Remember, consistency is key when it comes to mastering any new skill. Take the time to practice regularly and pay attention to the details of your playing. With enough dedication and effort, you’ll be able to confidently play the D7 chord in no time.

[merriclo]

i have an orchestra assignment that’s in D flat major i hate it here

[woahitslucyylu]

NSFW Alphabet - Erik ‘Killmonger’ Stevens

Author’s Notes: A few days late, but here it is. I write my alphabets as if I am talking to my frands (which I am), so enjoy it, loves! 

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A = Aftercare (What they’re like after sex)

Don’t expect much if it’s casual - you knew what it was when he was two fingers deep in the Uber. He will be polite, cordial, and a decent host, but don’t expect to lay up. He will absolutely ask you for your number, because he loves options, and is generous to his friends - passing along recommendations of girls worth remembering, buttttttttt, frand, if he loves you…

You. Are. A. Motherfucking. Princess.

He will shower you with cum and cuddles and then leave you to soak in the jacuzzi tub while he rubs your shoulders. He’s a Daddy, so he’s going to take care of you in all aspects after an intense session.

B = Body part (Their favorite body part of theirs and also their partner’s)

Erik’s favorite body part is his face. His smirk is predatory. A glinting gold-fanged smile leaves a lasting impression.

On his partner, he loves thick - here, there, and everywhere. Big boobs, fat ass, thick thighs - love, love, love; whether it is one or all. Erik is a hunk - muscles for days, and he will easily handle allllll you have to offer.

C = Cum (anything to do with cum)

Anywhere you let him?

He’s a freak, so it’s been all over your body. His favorites though are in you and your face. He is really into ownership and dominance, and when he has you in the most vulnerable positions, that’s when he gets off the most.

D = Dirty Secret (Pretty self explanatory, a dirty secret of theirs)

He lost his virginity late - 17, a week before his senior year of high school started. A girl three blocks down from the corner store in his hood. She stayed with her grandma and he had to sneak in through the window. He didn’t start fucking until college and well, those scars are from killing pussies too. Meme

E = Experience (How experienced are they? Do they know what they’re doing?)

He’s for the streets, unless you’re the real deal. Erik is incredibly loyal, because he expects it from you - a true ride or die. If he’s not in a relationship though, well, he’s running trains.

F = Favorite Position (This goes without saying)

Back shots are his go-to. Watching your ass bounce against his chiseled hips, your lips stretching over him as he glistens from you will have his eyes hooded as he grips your hair reminding you to be a good girl.

Sliding behind you while you do your make-up, hair in a bonnet leaves you late at least twice a week. He presses his dick into your ass as his hands cup your breasts through your chenille robe.

“Just the tip, ma. Just let me feel you.” Pro-tip: It’s never just the tip.

But, even Kill needs intimacy from his girl though, sooo…

If your Baby Girl, he will slow stroke you so deep with your legs draped over his shoulders as he says you look so pretty taking your dick. The pad of his thumb pressed against your throbbing nub. He will bury his face in your neck - nipping your tender skin and burying himself in you.

G = Goofy (Are they more serious in the moment, or are they humorous, etc)

Erik finds humor in your proverbial suffering, when you’re whining and whimpering for more or for a break, but he isn’t cracking jokes and dropping one liners.

H = Hair (How well groomed are they, does the carpet match the drapes, etc.)

He’s groomed and he smells like a man. I get Dior Sauvage vibes from him.

I = Intimacy (How are they during the moment, romantic aspect…)

This is a privilege, but if you’re lucky enough, you’re spoiled. Candles lit, flowers, soft sheets, expensive lingerie - making love is an art for him. He will degrade you in the most loving way as he lets you cum first, second, and third. Your pleasure and your worth make him feel like a man. Loving you correctly is a source of pride for him, and that means you are emotionally taken care of, even in the nastiest scene.

J = Jack/Jill Off (Masturbation headcanon)

When you first teased at a FaceTime show, you didn’t know you’d love it so much. Watching Erik left you so overwhelmed, you came hard - moaning his name as you pushed the toy in and out. He loves when you initiate. Knowing you want him validates him and indulging you is something he enjoys doing, so when he’s away for business, he treats you to the shows.

K = Kink (One or more of their kinks)

Sex is Erik’s kink. There is very little he doesn’t enjoy in the pursuit of pleasure. Not surprisingly, kinky Kill is reserved for his girl only. It’s a privilege to be tied up in his bed as his heavy hands run over your body, whispering the filthiest thoughts. It’s a privilege to role play in the bar on a spur-of-the-moment trip to New York with a blonde wig and end up bent of the bathroom sink as the game melts into real fucking. It’s a PRIVILEGE to have his submission - the times when he sinks on the bed, calling you with a finger, and he begs you to ride him leave you with heart eyes as you sink onto him, getting drunk on his moans as your ass bounces against his thighs.

L = Location (Favorite places to do the do)

Erik is a sucker for baecation sex.

Your melanated skin sparkles in the sun as you lay topless in the southern Pacific sun. The ocean breaks gently against the private dock and the soft R&B lulls your eyes shut behind your large sunglasses. Erik leaned against the door frame, watching your curves against the aquamarine seascape and his dick throbbed. He finished the rum - the sweet liquid icing his throat as he swallowed thickly and padded to your lounged body. His dick rested heavy against his thigh, already hard under his swim trunks, as his hulking frame shadowed you.

“Babe, what are you doing?” You raised your glasses and squinted in the bright sun - a wide smile on your face. He dropped between your knees - your legs falling open to accommodate him as his fingers danced over your warm skin. Your breath caught as the pad of his thumb brushed over your nipple - raising it under his touch, “Oh, so we’re doing that?” You mocked as he lifted your leg over his shoulder, his breath warm against your now-wet bikini bottoms.

M = Motivation (What turns them on, gets them going)

Erik’s motivation in life is to dominate, and in the bedroom, that’s no different. He wants to own you in every sense of the word, and vice versa - he wants to be owned by you.

N = NO (Something they wouldn’t do, turn offs)

Cleanliness is next to godliness, so anything that is actually dirty, Erik is not into. On another note, disloyalty, shadiness, or any evidence of fuckery really just piss him off.

O = Oral (Preference in giving or receiving, skill, etc)

Not all pussy gets eaten, and that’s just really how it is, but for you, giving head is Erik’s solution to most problems and you don’t hate it. Bad day at work? Need attention? Broke a nail? All of it can be solved with his mouth. He loses his breath at the sight of your sticky lips and swollen clit as he brushes his nose against your folds before licking, sucking, and kissing all the places that make your pussy cry with joy.

Overpowering Erik’s dominance is rare, but you on your knees will make him relax and watch as you take him down your throat, gagging and slurping, as your tongue slides over each vein, swirling his mushroomed tip against your full lips. His hand will fist your hair, holding you still, as he thrusts into your throat - saliva dripping as you moan against him. The vibration leaves his dick throbbing as he lets you swallow, greedily enjoying your prize, hard earned from Daddy.

P = Pace (Are they fast and rough? Slow and sensual? etc.)

There’s a time and place for it all and Erik reads the room.

You’ve been acting out, talking shit in front of his friends, kissing your teeth, and stomping through with a bratty attitude, and the only remedy for you is arched on the bed as his heavy hand lands hard on your ass and thighs. The cracking sound of your skin echoes through the room as you count in a weak voice - wetness pooling between your thighs, as he spreads your cheeks. “You just fucking up, so Daddy can fuck you up? Hmm?” He questions as he pushes into you. His question answered with a string of curses sprinkled with moans. “Don’t got shit to say now that I’m deep in my pussy, huh?” He fists your hair, holding you against the comforter, “If you wanted a little dick, just say it, ma.” His chuckle is sinful as his hips snap against you making you forget why you ever had an attitude in the first place.

Q = Quickie (Their opinions on quickies rather than proper sex, how often, etc.)

If Erik wants you, he will have you. Periodt.

The same, however, also goes for you, and the moments when you just. can’t. wait. leave Erik bustin’ earlier than he wants.

As Erik reached for the door, the locks snapped, leaving the door shut as he tossed you a side glance. This was the fourth stop of the night and your eyes were glassy from liqour as Erik shuffled you between kickbacks. “Come here,” Your hands reached for him, sliding down his t-shirt, resting on his crotch. “Just let me touch it, daddy.” You stretched the syllables as you pulled at his belt, urging it lower. “Come on, no one can see.” His hips rose, jeans sliding down as you pulled him from his boxers. “I just want a little bit.” Your hand jerked him slowly as you slid over him - your thick thighs pressing against the console and the door. He pulled his bottom lip through his teeth - his golds glittering - as you sank slowly onto him. “Just a little bit? You taking the whole thing,” His shirt was pulled under his chin as he watched his dick disappear into you with each rock. “It’s mine. I can take it all.” Your head lazed as Erik’s powerful thrusts took over and your soft moans filled the car.

R = Risk (Are they game to experiment, do they take risks, etc.)

Erik’s whole life is a risk, sex isn’t any different. Threesomes, orgies, tying people up, being tied up - all of it can find a place in his life.

S = Stamina (How many rounds can they go for, how long do they last…)

Realistically, he can go two-three times in a row. During a day, you could give it five or six times if you really wanted it.

T = Toy (Do they own toys? Do they use them? On a partner or themselves?)

Toys aren’t for children and Erik uses them to his advantage. Plugs, vibrators, ties, restraints, lube - all in the drawer beside the bed waiting to be chosen to work your body into a puddle.

U = Unfair (how much they like to tease)

Before Erik, you never knew the beauty and power in a delayed release, and with Erik as a teacher, you learned the lessons of edging quite well. He’s a general tease - the build up is half the fun, and unless you’re being punished, he always delivers for you.

V = Volume (How loud they are, what sounds they make)

Erik is nasty and his words alone leave you dripping. His dirty talk is another level of freak, and he leaves you speechless when he says things like…

“Is this my pussy, ma?”

“Your shit drippin’ all over me.”

“Where did you learn to suck dick like this, baby girl?”

“Come on, give me my nut.”

“This tight pussy all mine.”

“Daddy knows the spot, ma.”

The filth that falls from his beautiful mouth leaves you begging for more, but the only thing that matters to you are his moans - hard earned and coveted from being a good girl. The throaty sounds that escape as he bottoms out or you squeeze him gently leave you panting and craving more.

Your acrylic nails raked over his scars - a sharp hiss escaping his mouth - as he pulled your leg over his hip, deepening his thrust. A flex of your walls shut his eyes - a guttural moan slipping out as he stilled himself above you. Your eyes drank in the heavenly sight above you. Loose dreads hung over his face, his lip caught between his teeth - his amber eyes glazed, “Quit playing, baby.” It was barely a whisper as he pulled back, slowly inching from you, when you squeezed him again and another moan echoed through the room.

W = Wild Card (Get a random headcanon for the character of your choice)

Intimacy, for Erik, comes in the form of non-sexual activities. Almost anyone can get the dick, but not everyone gets their hand held at the Farmer’s Market while he shops trendy black-owned farms for fresh vegetables, not everyone gets to drive him to urgent care when he chilled with a fever, and not everyone gets the privilege of cleaning on Saturday mornings with 70s funk narrating the choice to use Fabuloso or Pine Sol.

X = X-Ray (Let’s see what’s going on in those pants)

8-9 inches

Thick

Curved

It bounces when he walks

And it smells good.

Y = Yearning (How high is their sex drive?)

He enjoys sex and it keeps him even. He wants you all the time. Of course, there’s real life responsibilities, but in the house, if he wants you, he will take you.

Z = ZZZ (… how quickly they fall asleep afterwards)

This is assuming he only has sex at night or in a bed, but generally, he sleeps when he wants to and that includes after sex too.

[the-wlw-cafe]

N S F W  A - Z: Lena Luthor

okay so nobody requested this but this is a present from myself to myself, because i love myself and i deserve nice things. But feel free to request this for other characters!

Anyway, this is basically 50% Smut and 50% Feelings. PTSD, body image issues and Lillian’s abuse are mentioned, so be safe if any of that might bother you.

-

A = Aftercare (what they’re like after sex)

Lena needs aftercare after sex. She’s not used to being vulnerable with somebody else, being bare in more ways than one, and it can get overwhelming for her. After the first time you’d made love you were shocked to find her burrowing her face into a pillow to hide the fact she was crying. A few panicked minutes followed, you were worried you did something wrong and she was afraid of ruining everything by being so damn emotional. You did work it out though, and you soon realized that the tears she was shedding were tears of love, a love greater than any she had ever felt before, and this realization had swept the proverbial rug from under her feet.

You’ve gotten a lot better at communicating now, and Lena isn’t ashamed of needing to be held after sex anymore. She just automatically searches out your warmth and clings to you like you’re her  rock while you murmur soft praises into her ear, holding her through the twitches of occasional aftershocks. She’s so soft in the afterglow, all the harshness she works so hard to maintain every day completely fade away as she melts into your embrace.

B = Body part (their favourite body part of theirs and also their partner’s)

When Lena thinks back to her mother, her real mother, she always remembers her with green eyes so similar to hers, She doesn’t know if she has fabricated this detail, her memories from a time before the Luthors are blurry at best, and the human mind is notoriously unreliable at recollecting. Still, it can feel like her eyes are the only thing she has left of her mother.

Lena is an arms girl through and through. She’s fascinated by the interplay of muscles under your skin when you do menial work, when you hold her safe and sound, when they’re keeping you aloft suspended above her body as she grinds her hips upwards into you, the way they flex as you pump your fingers in and out of her at an unforgiving pace…

C = Cum (anything to do with cum, basically)

Lena is a squirter. She tried to warn you the first time she felt it happen, that deep build, that sensation as if she was about to burst, but then you curled your fingers in just the right way and she shattered apart with a scream before she could get the words out. Afterwards, she tried to gather her wits and string a sheepish apology about the bedsheets together, but when she saw you kneeling between her legs, stunned in a state of what could only be described as awe, she decided that maybe the apology could wait. Especially after you immediately dived back in to clean her with your tongue.

D = Dirty Secret

Lena was very sexually active during her time in an all-girls boarding school in Ireland, a devoutly catholic one of all places.

E = Experience (How experienced are they? Do they know what they’re doing?)

She’s plenty experienced when it comes to fucking, she can make you come undone in minutes with any combination of her skilled fingers and her clever tongue. What she has little to no experience is making love, being vulnerable.  It doesn’t come naturally to her, not in the beginning, at least, but over time she learns that she can be open with you, because you are her safe haven.

F = Favourite Position (This goes without saying, will probably include a visual)

She loves to have you ride her face, pulling your centre into her mouth roughly while you hold onto the headboard for dear life. She loves the way she can drive you wild with teasing little licks over your clit that are never quite enough, the way she can make you grind your hips into her mouth chasing the feeling of her tongue, coating the entire lower half of her face in slick. But her favourite thing about this position is the way you look down at her, pupils blown wide and so, so intense. When you’re riding her face like this, she can’t help but snake one hand between her own thighs to relieve some of the dull ache.

G = Goofy (Are they more serious in the moment, or are they humorous, etc.)

Sex for her had always been a quick way to scratch an itch, not a particularly humorous affair. In fact, you’re the one that first makes her realize that no; it doesn’t ruin the mood if you dissolve into silly giggles because you accidentally knocked off her glasses in your eagerness to pull her closer.

H = Hair (how well groomed are they; does the carpet match the drapes etc.)

She keeps everything trimmed, but she lacks the patience for waxing.

I = Intimacy (How are they during the moment, romantic aspect…)

Especially in the beginning of your relationship Lena was afraid to show too much intimacy, not because you didn’t mean enough to her, but because she was so afraid that in the end, she’d feel more for you than you felt for her. All her life she’s been told that everything comes down to transactions, to risk and reward, and the risk of putting herself out in the open like that was daunting, paralyzing. She was still waiting for the other shoe to drop and for you to be taken away from her like every other good thing in her life. You were the one who had to take the plunge and say I love you first. But she was the one who said it the second, third, fourth and fifth time, all the while riding your fingers desperately, and she didn’t stop telling you until you were both exhausted and sated.

There are still days where she struggles with showing intimacy, but don’t ever let that fool you into thinking she doesn’t love you more than anything in the world.

Jack Off (Masturbation Headcanon)

Since Lena is on some quite heavy antidepressants and they can make it difficult to really get there when she’s on her own, but she when you’re with her she does love putting on a show for you, and she swears she could come from your expression and the way you curse under your breath as she teases herself for you alone.

K = Kink (one or more of their kinks)

Lena has a praise kink a mile wide and that’s just a fact. She loves hearing you tell her what a good girl she is, how pretty she looks stretched around your fingers, how well she’s taking you…

She’s into some restraint play and light BDSM too, but only on the receiving end. This was not always the case, she used to be dominant in a lot of her past relationships and hook-ups, but mostly because it was what was expected of Lena Luthor, the stone cold, cut-throat, domineering CEO. What she really longs for is to let herself go for a while, to give someone else the reigns while she’s just Lena, and with you, she finally found somebody she trusts enough to give herself over.

L = Location (favourite places to do the do)

It’s a lucky thing that the public doesn’t know what goes on in Lena’s office, because Lena has a serious kink for office sex. You’ve eaten her out on that pristine white sofa, you’ve bent her across the desk and taken her from behind with a strap-on, you’ve pressed her up against the cool glass of a windowpane while husking the dirtiest things into her ear.

You’re pretty sure Jess knows. She hasn’t been able to look you in the eyes for weeks now.

M = Motivation (what turns them on, gets them going)

Your strength. And by that I don’t mean physical, although that’s definitely a turn-on in its own right (she is, after all, an arms girl). Seeing you stand up for yourself, holding your own in the world of rich old white men she navigates on the daily despite not being raised into it like she was. The way you don’t let yourself be intimidated by them or bullied for not “belonging” in the circles she is known to be in. It always makes her chest swell with love and fierce pride, and, well, sometimes it makes her pull you buy the hand into the nearest bathroom or closet.

N = NO (something they wouldn’t do, turn offs)

Lena’s been through some shit in her life, from witnessing the death of her mother at age 4 and being carted off into an abusive household to the almost weekly attacks and attempts on her life, and it’s no wonder that she carries enough trauma for a dozen people her age. She struggles with PTSD and she can slip into panic attacks at the drop of a hat. She’s had to safeword on more than one occasion because sometimes, even though everything was fine only moments ago, it suddenly all becomes too much to bear. She trusts you to respect that and, on the occasion a panic attack has her in its grip so tightly that she can’t actually form the word, to read her correctly.

O = Oral (preference in giving or receiving, skill, etc.)

Her experience certainly shines through when giving oral, because she is skilled. She also is a little minx when she has you at her mercy, teasing you and purposefully giving just short of what you need, watching you with undisguised mirth in her eyes as you huff and whine out in frustration, only to suddenly dive in and make you come in a matter of seconds, leaving you gasping for breath as your orgasm crashes through you with the force of a tsunami.

When receiving, however, she is almost an entirely different person. She loves being eaten out, there’s no question, and it seems to awaken something wild in her, something utterly debauched, something almost animal. She’s loud, messy, bucking shamelessly against your mouth, pleading you for harder, faster, more and again.

P = Pace (Are they fast and rough? Slow and sensual? Etc.)

Lena usually prefers it rough, even when you’re in a romantic, sensual mood. She wants to be able to feel you tomorrow, to have something to remember you by at work, even if it’s just that sweet soreness. With you, however, she takes her time, treating you like the most precious thing in the world because to her, you absolutely are. If you want it harder, you’ll have to ask her. It’s not like she could ever deny you anything.

Q = Quickies (Their opinion on quickies rather than real sex, how often, etc.)

She’ll always prefer the real thing to a quick fix, but she’s a busy woman and there are days where you only see each other during her lunch break, so a quickie in her office will have to do. You will never let her live down the fact that she does, in fact, have designated quickie times in her week planner. Granted, that’s not what they’re called in her planner, but the fact that they’re written in red ink and the words absolutely no disturbances are underlined twice speaks volumes.

R = Risk (are they game to experiment, do they take risks etc.)

There are very few things Lena would outright refuse to try, because she simply wants to make you feel as good as you make her feel. Because of her busy schedule, some of your encounters are definitely on the riskier side in regards to being discovered. Her office, bathrooms at galas, the back of her car when the partition is up: these are all fair game, and if Lena is honest, the risk of being discovered adds a special little thrill for her.

S = Stamina (How many rounds can they go for? How long do they last?)

Lena is usually limited to about 3 rounds. It’s not a problem with her stamina though, as she has no problem making you come undone again, and again, and again, but instead it’s just one more side effect of her antidepressants. So you make sure each round counts, leaving her teetering on the edge for as long as she can bear, making sure she gets every last delicious drop of pleasure.

T = Toys (do they own toys? Do they use them? On a partner or themselves?)

Lena can afford the best of the best when it comes to toys. So maybe she has a bit of a kink for spoiling you with the most expensive of toys, showing off priceless lingerie only to have you rip it off of her, watching you pound into her with a ridiculously costly stained glass strap-on? She just likes to play the sugar mama from time to time, fulfilling your every secret wish.

U = Unfair (how much they like to tease)

As mentioned before, Lena can be one hell of a teasing minx, and that doesn’t only apply to the bedroom. She loves seeing the effect she has on you, the way you can’t take your eyes off of her when she’s wearing her designer pantsuits in the boardroom, dressing down men three times her age who sure as hell won’t underestimate again, or when she’s in a tight dress at some fancy gala, whispering in your ear how much she needs you to take her right now before returning back to polite conversation as if nothing had happened. She preens under your attention, loves the way she can get under your skin and keep you wanting, and maybe, just maybe, she loves the way you make her pay for it later on when you’re alone, keeping her on the edge while holding climax just out of reach until she’s begging for it.

V = Volume (How loud they are, what sounds they make)

She’s very vocal in bed, from the most wicked of dirty talk to shameless moans and whines after you’ve fucked her into incoherency. And when she completely lets herself go, she’s a total screamer. You thank the heavens for the soundproof walls in her apartment and her office.

W = Wild Card (get a random headcanon for the character of your choice)

Years and years of verbal and emotional abuse at Lillian’s hands have left Lena with some body image issues, especially regarding her softer curves that neither Lillian nor her could ever seem to get rid of. No matter how often you tell her how beautiful, stunning, awe-inspiring she looks, there will always be days where she asks you to turn the lights off when you’re about to make love, or ask to keep her shirt on.

X = X-Ray (let’s see what’s going on in those pants, picture or words)

Lena’s thighs are soft and lined with pale red stretch marks. She’s self conscious about them, but you love kissing each and every one, and you love leaving hickies on her creamy skin.

Y = Yearning (how high is their sex drive)

Lena is under a lot of stress, her work and the constant danger she’s in sometimes just don’t permit her to relax enough to even take note of her sex drive. You make a point of regularly taking a time out from all of the chaos in National City with Lena, a weekend away from work and stress, somewhere far off in the mountains or at a secluded beach. It’s a shame, really, that you don’t get to appreciate the scenery very much, because, well, you rarely leave the bedroom during those weekends.

Z = ZZZ (how quickly fall asleep afterwards)

Lena doesn’t think there’s a better place to sleep than in your arms. Usually she has troubles falling asleep, her genius brain refusing to shut off for even a moment, not letting her have any peace or a wink of sleep. But when she’s with you, with nothing on her mind but your smell, your warmth and the delicious soreness in her muscles, her worries for once leave her be and she finally gets a good night’s sleep.

[tonkigame]

Keziah jones tablatures

This sadness kills With part 2's rythm : You're lyin' You're lyin' You're lyin' You're lyin' Moments, dreams and reasons Moments + dreams make love Come in seasons Yeah ! Seasons With part 1's rythm : Where do we go. This madness kills Part 2 : - EmVII AmV Bm7VII EmVII and do it again Talking like one of those reasons Looking like one of those dreams looking like one of those moments AmVII AmV (let ring) You can't fool me And then on again with the sliding stuff (part 1's rythm): I'd like to see. Sadness Em (slide etc.) Am BVII AmV Em (slide etc.). like this Em (slide etc.) Am BVII AmV Em (slide etc.). life is ? Em (slide etc.) Am BVII AmV Em (slide etc.). // : means slow and regular slide Once you've got it, you simply play it again and again and start singing : Part 1 - Em (slide etc.) Am BVII AmV Em (slide etc.). ! It's too complicated to explain in a text. Come back to Am and then go to BmVII with your fingers sliding in the Am position. Then play only the three first strings with your 1st finger crossing them at the 12th fret. #-# Where's life ? ************** By Keziah Jones Written by Paul Orsoni Normal Tunning (EADGBE) chords : - Em : 022000 EmVII : 779987 Am : 002210 AmV : 577555 BmVII : 799777 Bm7VII : 779777 To play this song like the master, play Em with your third and fourth finger on the 4th and 5th string, then slide while continuing to play the first three strings G, B, E, up to the 14th fret. You may only use this file for private study, scholarship, or research. #-PLEASE NOTE-#This file is the author's own work and represents their interpretation of the #song.

[mrrajuseo]

Best Way To Play F sharp minor chord guitar

F Sharp Minor, or F#m, is a renowned note in numerous excellent songs. The "#" addresses "sharp," and the "m" connotes "minor." You may moreover find this harmony formed as "F# minor" or "F# minor harmony."

F sharp minor contains three notes: F#, A, and C#. F# is the root note, An is the level or cut down third, and C# is the fifth range. Played together, these notes make the extraordinary sound that describes F#m.

Most clear Method For The Chord:

We will at first cover the most clear approach to play the F sharp minor guitar harmony. You will put three fingers at the resulting fret, and you won't have to barre the strings. You set your first finger at the sixth (E) string. The ensuing finger goes on the fourth (D) string and the third finger on the third (G) string. The primary, second, and fifth strings stay open.

Instructions to Play F Sharp Minor Chord On Guitar

F sharp minor is genuinely similar to an empty position A Major, maybe the best harmony for fledglings to learn. It works honorably for novices since you don't have to keep away from any strings when playing.

[stradivaristrings]

Things to Learn about Chord in Singapore Ukulele Class

Are you fond of playing ukulele and want to play some songs with such an instrument? If so, it is vital achieving knowledge about various chords of the instrument from the ukulele class in Singapore. There are some great masters of the instrument who will teach you about various things related to the instrument's chord. 

No doubt, there will be huge which you need to know about chords. You must understand the basic chords so that you can make progress with the instrument. Often high chords are essential when you play high notes. 

Understanding Symbols For Chords 

When you start to learn chords, it is essential to understand the chords' symbols in detail. It is critical to know that m stands for a minor chord, and M stands for Major one. These are the basic chords, which will ultimately help you to learn other chords with ease.

 For example, you must learn the difference between the C major and C minor. 

Learn To Play Easy Chords 

To play various types of songs, you need to learn easy chords. The ukulele class in Singapore will help you to learn the chords in alphabetical order. It will assist you in learning the chords easily and rapidly. If you learn the easy chords, you will able to learn tough ones later. 

When it comes to easy chords, you should learn C 7, C minor, C major, A 7, and A minor. If you learn to play these chords, things will become easy. You need to put your ring finger a string of the third fret if you need to play a C major chord. 

You can use three fingers on the same fret when you play C minor chord. While there are other ways of playing C minor, the third fret is mainly used to playing this chord. As a beginner, you need to learn to use three fingers for playing the chord. 

You need to place the first finger of the A string when you play C 7 string. 

You need to place your middle finger on the second fret of the G string, and index finger on the first fret of C string, to play A major chord. The minor chord is very similar to the A chord.

 You will require movement of the index finger from the first fret if the hand is already in a major chord position. On the second fret, there will be only a second finger on the G string. It is defined as A minor. 

It is seen that learning A 7 chord for ukulele is very easy. On the first fret of C string, you need to place your finger, and you will learn to play the A7 chord. If you like a string instrument, it becomes easy to play C and A chords very easily. 

Fs, DS, and Gs Chords 

There are other chords like F, D, and G, which you need to learn in Singapore's ukulele lessons. But first, it is necessary to learn F minor and major. You require placing the other fingers over other strings to fret when you try to play F chord. 

With the first finger on the E string on the first fret, you need to keep the A and C strings open. You should place your second finger on the second fret of the G string. 

When you learn to play F minor, you will require stretching your fingers. Before you use your ring finger for A string on the third fret, you should stretch your first couple of fingers between the E and G strings on the first fret. 

You need to use your three fingers chronologically if you need to play a D chord. It should be done on the second fret of E, G, and C strings. 

When you learn to play the F chord, you will see that the DM chord is very similar. To the C string of the second fret, you just need to add your ring finger. 

You need to use three fingers in a close manner when you learn to play a G chord. While you will get eased up with practice, but in the first instance, your finger will cramp up. While your second finger should be on the second fret of A string, your first finger should be on C string. On the third fret of E string, you need to place your ring finger. 

Learning the B Chord 

When you learn the chords of ukulele, you need to learn the B major chord. While you need to play all chords, you will hardly use this chord. You need to learn the chord and try to play it when you can play the chord. 

Often while playing B chord, you need to a barre chord. There should be the same fingers to fret numerous strings when you learn to play a barre chord. At the same time, you need to press down multiple strings when playing barre chords. 

By using an index finger against strings, you will be able to play Barre chords. You need to use other fingers to fret strings, which is also necessary for B chord. 

You need to use the second fret and A and E strings if you are learning to play B chord. There should be the use of the first finger. You require placing the third finger on the fourth fret of G, while your second finger should be on the third fret of C string.

[learnwithmotive-blog]

Guitar Fundamentals - Beginner’s Guide

Introduction To Learning Guitar

This article is meant to be a guide. There are a lot of component that you must learn with your guitar before you sit down with the family in front the camp fire. This article is jammed packed with information so it’s okay if you begin to feel overwhelmed. Bookmark this page and come back to it over and over again. On the other hand, if you’re a visual learner you can get access to this same information in video format by going here. 

When the game "Guitar Hero" hit the market, every teenager and adult alike went into a frenzy and before too long, they were strumming out the chords to some of the most popular tunes from the last few decades. 

And just as predicted, that game was responsible for a sudden interest in guitar, and music teachers all across the nation were booked solid with new students eager to take their digital hobby, and turn it into a real life instrumental skill.

In truth, while the "Guitar Hero" game renewed interest in this classic musical instrument, the guitar remains one of the most popular of all instruments, and with good reason.  

Regardless of how little experience you have, learning to play the guitar is not only enjoyable, but it's also one of the easiest musical instruments to learn. But like all musical instruments, if you want to learn to play the guitar you will need plenty of practice, perseverance and patience.  

When new musicians begin to learn the guitar, one of the biggest obstacles is learning chords and proper finger placement.  

If you stick to practicing and can overcome the entry learning curve, you'll find it gets much easier the more you play.  

If you have never played guitar before, you'll want to start with a basic 6-string acoustic guitar that is suitable for beginners. 

Along with a guitar pick and a copy of this guide, you'll have everything you need to start learning chords and before you know it, you'll be strumming along to your favorite tunes!

One thing to keep in mind is that it's much easier to play the guitar with your fingernails trimmed down. You should also realize that your fingers may get sore when just starting out, but as they become slightly calloused, you'll find it easier to strum for long periods of time without having to stop.  

And finally, move at a pace that you're comfortable with!   I always recommend that beginners start with one basic lesson at a time and stick to that lesson until they've completely mastered it. 

Then, move on to the next lesson.  Not only will this ensure that you truly understand what you've just learned but the more you practice each lesson, the easier it will be to retain that information so you always remember it!

And don't feel bad if you struggle to remember placement and chords when you're just starting to learn guitar. 

It's natural to have to refresh your memory for the first few weeks, but again, the more you practice chords and learn proper placement, correcting yourself as you go, the easier it will be.  

When it comes to mastering guitar, practice certainly does make perfect!

Guitar Structure & Terminology

Before you begin to learn how to play guitar, it's important that you understand the anatomy of your guitar, so that you can identify different parts, while understanding guitar terminology referenced throughout this guide.

Guitars usually have six strings but you can find guitars with seven, ten or even twelve strings.

The top of the guitar consists of a slim neck and the “headstock”. The headstock’s main function is to hold the guitar strings.  The headstock is placed at the end of the guitar and is furthest from your body.    

The headstock consists of tuners that allow you to change the pitch of your guitar strings.  At the bottom of the headstock is the “nut”.  A nut is a piece of material where there are grooves carved out.  These grooves guide the strings to the tuners.  

The nut is usually made of plastic, bone, brass, stainless steel, graphite or other material.  The nut is found where the fret board meets the headstock.   A fret board or fingerboard is wood that is embedded with the metal “frets” that make up the top of the neck.  

Let's talk for a minute about the tuning pegs at the top of the guitar on the headstock.  This is where the stings end.  Before you ever change strings, pay particular attention to which peg each string ends up. 

Here is a helpful hint for remembering how the strings are placed into the tuning pegs.  If you are holding your guitar in posture (which will be discussed a little later) there will be three pegs pointing toward the ceiling (upright) and three pointing toward the ground (downward).  

If you are looking at the guitar as the diagram indicates, there will be three pegs on the left and three pegs on the right. 

Let's work with the latter example.  Low E (biggest string) goes into bottom left peg, A goes to middle left peg, D goes to top left peg, G does to top right peg, B goes to middle right peg, high E (smallest string) goes to bottom right peg

The guitar neck will be the focal point as you begin to learn how to play the instrument.  The neck joint or “heel” is where the neck is glued or bolted to the guitar body.  

On the neck of your guitar you should notice two things.  One, there are going to be a series of metal lines that extend from one end of the neck to the other.  These are called frets.   

Two, if you look down the side of the neck of your guitar you will see dots.  The dots are located at frets 3, 5, 7, 9, 12, 15, and 17.  Fret 12 has a double dot for which I will explain further once we get to that portion of these lessons.

The majority of acoustic guitars have necks that are glued while the majority of electric guitars have glued and bolted necks.  

Your fingers will be placed on different parts of the neck and this will create various notes.  Solid body electric guitars have a neck through body construction.  These types of necks are built so the head down through the bridge is on the same piece of wood. 

Next there is the body of the guitar.  The body of a guitar will be different depending on what type of guitar you use.  In an acoustic guitar the body of the instrument determines the quality of the sound.  

The vibration of the strings is passed through the bridge and saddle through a sound board.  A soundboard is usually made of spruce or cedar and is about 3mm thick.  

There is a sound hole in the body of the acoustic guitar.  The sound hole is designed to project the sound of the instrument.  The sound hole is typically a round hole on the front of the guitar, under the strings. 

The sound of the guitar is projected through the sound hole.  The air inside the body of the guitar vibrates as the guitar body and top is vibrated by the instrument’s strings.

The bridge is where your stings will be changed.  There are round pegs at the end of every string.  These will need to be pulled out and new stings inserted.  You will need to learn the string names.  

Beginning from the top (biggest) string to the bottom string (smallest):  EADGBE.  The top and bottom strings are the same note, just different octaves.

The bodies of most electric guitars are typically made of wood.   It is rare to find a piece of hardwood that is wide enough to create the entire guitar so it is hard to find a guitar made of one piece of wood.  

Most guitars are created with two pieces of wood and have a seam going down the center of the body.  

Maple, ash, mahogany, basswood, alder, and poplar wood are commonly used to create the body of an electric guitar.  

Many guitar bodies consist of cheap wood such as ash glued on top of a wood such as maple.  Guitars that are made in this way are called “flame tops”.  

Some electric guitars are made of such materials as carbon composites, aluminum alloys, or a plastic material such as polycarbonate.  

The majority of electric guitars have bodies that are solid and do not have a sound hole.  Electric guitars instead have “pickups”.  

Pick-ups are basically small microphones that capture the sound of the strings and then the sound is amplified.   

Guitar strings go from the pegs on the headstock and over the nut.  They then go down the neck and over the body and then over the sound hole or pickups.  

The strings are then anchored to a “bridge”.   A normal guitar has six strings.  These strings are all different sizes and represent different notes. 

The bottom string is usually the skinniest and has the highest sound.  It is an E note.  The bottom string is also known as the first string.  The second string is a little thicker than the first string and is the B note.  

The third string is B, the fourth string is D, the fifth string is A, and the final, sixth string is an E, just like the first string.  

This sixth string is the thickest string of the set.  It has the lowest sound and is the one that is closest to you.  

If the guitar is tuned correctly, the first string and the sixth string should give you the same note but in different pitches.  

If you want to memorize the string position and values you can use a mnemonic device such as Eat All Day Get Big Easy.  

Frets are strips of metal that cut the guitar in sections from top to bottom.  The combination of strings and frets form a grid.   

This grid covers the guitar neck.  If you put your finger in between two frets, this allows you to play a note.  The higher you place your finger on the fret; the notes will have a higher sound.

Proper Positioning And Placement

Now that you have learned a little bit about the guitar, you are now about to learn about how to position a guitar and tune it.  

First you will learn about positioning a guitar.  Begin by finding an armless chair that has good support for your back.  You should sit comfortably with your back against the chair.  Slouching is not good because you will develop bad guitar habits and a sore back.  

When sitting in an armless chair, be sure that there is a lot of room on both sides of you so you can hold your guitar properly and move your arms. 

Once you are seated in the chair, you should place the guitar on your lap and have the rear of the guitar facing your chest.  The guitar body should be on the leg that is farthest from the headstock.  

If you are right handed, the guitar should lay on your right leg.  The majority of acoustic guitars will have curved indentations that are great for playing the guitar on your leg.  

If you are holding the guitar properly than the sixth string should be close to your chest and the first string should be close to your feet.     

Your fret hand will have to be placed on the left if you are right handed and on the right if you are left handed.  

You should grip the neck of the guitar gently with your fretting hand.  You thumb should be placed behind the guitar’s neck.  The other fingers should be floating on top of the strings, slightly curled.  It is very important to curl the fingers at the knuckles unless an instructor tells you not too.  

Next we are going to discuss picking.  When beginning to play the guitar, you should purchase a set of guitar picks.  A guitar pick is a small flat tool that you used to strum the guitar.  You should purchase a minimum of ten guitar picks and they are relatively cheap.  

There are different types of guitar picks but it is best to start with one that is not too hard or too flimsy.  Picks are made of rubber, wood, stone, plastic, tortoiseshell, and metal.  They are usually in the shape of a triangle but other shapes are available from manufacturers.

Once you have a guitar pick and are seated in the proper position, you can begin strumming the guitar.  Your picking hand will be nearest the bridge of your guitar.  

You should open up the hand you will be picking or “strumming” the guitar with.  The palm should face you.  Then make sure the thumb is next to the index finger.   Make sure that you rotate the hand so the knuckle of the thumb is facing toward you.  

With your free hand you should slide in the guitar pick between your index finger and thumb.  That way, the pick is secure.  The pick should end up behind the thumb’s knuckle.  

You should hold the pick firmly and the pointed portion of the pick should be pointing away from your fist and should be sticking out about ½ inch.  The hand you are strumming with should be over the sound hole if you are using an acoustic guitar or over the guitar body if you are using an electric guitar.  Your strumming hand should be placed above the strings.  

Your picking hand should not sit on the body or stings of the guitar.  Using your wrist, not your arm, strum the lowest string downward.  If the string rattles too much, do not use a lot of the pick surface or strum softer.  

Then pick the lowest string upwards. Try this a few times.  Try to lower the motion of your picking hand by doing a short pick downwards and a short pick upwards.  

Now repeat the process with the rest of the strings.   

Remember that holding the pick will feel strange at first.  You will have to concentrate on your picking hand when you begin practicing the guitar.  Your down strokes and your upstrokes should sound the same.  Also remember you will sound bad at first but this will change with practice.  It takes time to become the next guitar hero!

Tuning Your Guitar

It is very important to tune your guitar.   You need to tune your guitar on a regular basis if you want it to sound good and make practice enjoyable.  At first tuning a guitar will be difficult but this will change over time.  

There are different methods of tuning a guitar.  All of the different methods are appropriate but some are more convenient than others.  This is especially important if you are just beginning to learn the guitar.  

Tuning a guitar involves adjusting the strings so that they play the right note.  You loosen or tighten the strings by using the tuning pegs.  

If you tighten the pegs on the headstock, this will make the pitch of the string higher, while making the pegs loose will make the pitch lower.

Beginning guitar players may want to purchase an inexpensive electric “guitar tuner”.  This is a great choice for beginning guitar players.  

Electronic tuners can pick up the sound of a string and let you know through a display that the note is either too low (flat) or too high (sharp). 

Beginning guitar player have difficulty telling when a string is not in tune by just listening so buying an electric tuner can assist in making tuning faster and more precise.  

A starting guitarist who is practicing by themselves, easy and convenient tuning methods are best.  However, as you become pickier or begin playing with other people, utilizing alternative tuning methods will become increasingly important.  

If you cannot afford or do not want to buy an electric tuner, there are a variety of ways to manually tune your instrument.  

This includes relative tuning, tuning with a piano, pitch pipes, keyboards, tuning forks, intervals and harmonics.  We will go into these types of tuning in the next chapter.

Tuning Methods Made Easy

The easiest way to tune your guitar is by relative tuning.  Relative tuning is comparing the sound and pitch of adjacent strings.  The string with the higher pitch is tuned to match the sound of the lower string.  

In this method, there is the assumption that the lower string is tuned properly.  If you use this method, you will have to tune the sixth string with a tuning fork or piano.  More details on this will be provided later.  

The process starts with the tuning of the sixth string.  When the sixth string has been tuned, you need to press the sixth string at the fifth fret and pick the string.  Next, tune the fifth string so that it matches that sound.  The sound of the fifth string should match the sixth string’s, fifth fret.  

If you find that the sound does not match, turn the tuning peg for that fifth string and change the pitch. Don’t do anything to the sixth string.

If the sound of the string is too low, tighten the string.  If the sound of the string is too low, loosen the string.  

Be sure that the fifth string is tuned in comparison to the sixth string because the fifth string has to be properly tuned in order to tune the fourth string.  

After that, the fourth string needs to be in tune in order to tune the third string and it continues from there.  If there is a tuning mistake on any of the strings, the sound of the whole instrument will be thrown off.  

If you have a piano at your disposal and you are familiar with the notes, you can tune your instrument by matching the sound of the strings with the matching notes on the piano.  

To begin, find the E note of the piano and then play the sixth string or E note on your guitar.   Turn the tuning peg so that the sixth string on your guitar sounds like the E on the keyboard.  Do this with all the stings on the guitar.  

An electronic keyboard can help tune your guitar as well.  Keyboards give you clear, precise, and loud pitch that makes it easy to tune your instrument.  

This method of tuning is a great choice for beginning guitarists who have access to a keyboard or for guitar players who will be working with someone who plays the keyboard.

You can also tune your guitar by using pitch pipes.  You should be able to find these at your local music store.  These pitch pipes will give you the pitches of all strings.  All you need to do is match the sound of each string to the proper pipe.  

Pitch pipes do not cost a lot and even very young guitar players can use them.  They are small and easy to carry.  

Some more advanced guitar players would not be satisfied with pitch pipes because they do not have a clear pitch like an electronic tuner, tuning fork or piano. 

Using a tuning fork is a popular way to tune a guitar and other instruments.  A tuning fork is a two-prong device that has a stem and is shaped like a U.  

They are usually made of steel.  The tuning fork gives off a certain pitch when it is struck against a surface, causing it to vibrate.  The sound that comes from the tuning fork depends on the length the two prongs are. 

The standard tuning fork used has the pitch of an A note.  Tuning forks that emit this sound can be found easily.  Tuning forks with the sound of the E note can be found easily as well and they are very useful for guitars.  Tuning forks are cheap and easy to bring along with you.  

When using a tuning fork, hold the fork by the stem so that the prongs can vibrate freely.  Strike the prongs hard enough so that they begin to vibrate.  

Be sure not to strike them on anything that will dent.  It is best to strike the fork against your knee.  Not too hard of course!  After that and without touching the prongs, place the stem lightly on the guitar body.  Now tune the string to match the sound that comes from the guitar.  

In order to use a tuning fork properly you will need to practice.  It may be hard for a young player and a guitar player with experience will not want to carry around different tuning forks.

The preferred method of tuning a guitar is intervals.  The advantage of tuning this way is that the guitar ends up having a pleasant sound that is in tune.  Intervals involve tuning strings in conjunction to other strings.  This is very easy when you have practiced this method for a little while.  

To tune by interval, begin with the sixth string and have something such as a tuning fork or pitch pipe handy.  

To find the A note, press down the sixth string at the fifth fret, then tune the A string.  Next tune the D or fourth string to the D and the fifth string at the fifth fret.  Repeat this process with the G, B, and E strings.  

To check your tuning, play the E and B chords and listen carefully.  Make any adjustments you need to.

Next we have harmonic tuning.  Advanced guitarists prefer using harmonics when it comes to tuning their instrument.  Harmonic tuning is a bit more advanced, but once you have your ear trained and have a good idea of how to touch the strings, this is an incredibly accurate method for tuning.  

Simple Tuning

From the top to the bottom, lightly touch your E string at the fret line with your fretting hand, do not press the string, and pluck the string at the same time.  

You must release the touch with your fretting finger so that the note will continue to play.  

Play 5th fret E string and 7th fret A string, they should be the same pitch.  Play 5th fret A and 7th fret D.  Play 5th fret D and 7th fret G.  Play 7th fret low E and pluck open B.  Last, play 5th fret B and 7th fret E.

Instead of holding a string down, below the fret, you touch the string very lightly at the fret. This is harmonics.  This is not the best tuning methods for beginners but it is mentioned here to give you a complete overview of guitar tuning. 

There are many other ways to tune a guitar.  Slack key tuning is tuning some strings lower than other types of tuning.  The result is a major chord when all strings are played.  

A tuning method used in rock and classical guitar is D tuning.  This involves tuning the D string instead of the E string.  

No matter what type of tuning you use, it is best to tune your guitar frequently.  Strings get out of tune over time especially if you play your guitar a lot and practice a lot.

Hand And Finger Placement

When playing the guitar, you have one fretting hand, which is the hand responsible for creating chords or single notes, and you will have your picking or strumming hand.  

Both hands are equally important, but the real magic happens with your picking hand, as there are so many different ways to create melodic sounds from your strings.

Here is a diagram of your fretting hand and how to refer to your fingers.  This will be a great visual aid for correct chord placement.  It will be tempting to cheat with finger placement on some of the chords, but there are specific reasons for using specific fingers for constructing the chords.

There is a correct way and an incorrect way to hold a pick with your strumming hand.  You'll want to lightly rest the pick between your thumb and forefinger.  

Your forefinger needs to be arced so that it forms a semi-circle.  The pick will rest between the first and second knuckles on the forefinger.  

Each finger consists of three knuckles, one right above the fingernail, one half way up the finger and the last where the finger meets with the hand.  The first and second are referring to the ones right above the fingernail and half way up the finger.  

From here you will place your thumb on the pick creating a loose yet stable pressure.

As you become more advanced in your guitar playing, you will learn that there are several ways to hold a pick and all of which will be held between the thumb and forefinger.  

Do not let yourself fall into the trap of holding the pick with the tips of your thumb, forefinger and middle finger.  This is incorrect and is a very bad habit to break.  It will not allow for your remaining fingers to have any dexterity.

Learning Chords

Now for the fun part, actually playing the guitar!  It is essential to practice playing the guitar.  It is not that difficult to make sounds on the guitar but if you want to make these sounds pleasing to the ear, you have to practice.  

Let's begin with open chords.  Open chords are basic chord formations that all guitar players learn how to play first.  

Major Open Chords

Solid dots represent finger positions.  Diamonds represent played notes.  X represents a string or note not played (muted).

Each of these major chords are built from a corresponding major scale. 

Each of these major chords also consists of a triad in notation.  

The formula for a major triad consists of R-3-5.  

This means that if your C major scale is: C D E F G A B C, Root = C, 3rd = E, & 5th =  G.  

When you play your C major chord, the only notes strummed are C E G.  I suspect this will be kind of confusing but will make sense once you really get to know your fret board and scales.

Here are some of the common ways that these chords and notes will be referred to.  CM, DM, EM, FM, GM, AM, BM, C, D, E, F, G, A, B.

Minor Open Chords

Each of the major chords are built from a corresponding minor scale.  Each of the minor chords consists of a triad in notation.  The formula for a minor triad is as follows:  R- (flatted) 3- 5.  

This means if your C minor scale is:  C D Eb F G Ab Bb C, Root = C,  3rd = Eb, 5th = G.  Notice that it is exactly the same as a minor triad except for the flatted (b) 3rd.  

Also, the only notes played will be the R-3-5.

Here are some of the common ways that these chords and notes will be referred to.  Cm, Dm, Em, Fm, Gm, Am, Bm, Cmin, Dmin, Emin, Fmin, Gmin, Amin, Bmin.  

Dominant 7th Major Open Chords

Dominant 7th chord formations are a little different.  The principles are still the same as a standard major chord formation but the 7th note is added in.  

The 7th note played in a dominant 7th chord will be lowered ½ step.  If a C major scale is: C D E F G A B C, Root = C, 3rd = E, 5th = G, and 7th = Bb.  

The formula for this chord formation is R-3-5-7.  If we have a four note construct, a triad will still be the basic form in notation with an additional tone, the 7th.  

This is incredibly useful information as there are several larger chords that are used frequently in music. 

Here are some of the common ways that these chords and notes will be referred to.  

C7, D7, E7, F7, G7, A7, B7, Cdom7, Ddom7, Edom7, Fdom7, Gdom7, Adom7, Bdom7.  Dom = Dominant.

Major 7th Open Chords

The Bmaj chord is actually Bmaj7.  I have checked several references and this is the correct fingering for this chord.

Major 7th chords are again very similar to dominant 7th.  The difference here is that the major 7th follows the major scale identically.  

If a C major scale is: C D E F G A B C, Root = C, 3rd = E, 5th = G, 7th = B.  

Minor 7th Open Chords

A minor 7th chord is just like the major 7th only with the minor chord formation formula.  Let's take a look at what this looks like.  

A C minor scale is C D Eb F G Ab Bb C, Root = C, 3rd = Eb, 5th = G, and 7th = Bb.  

The formula for this chord construct is R-3b-5-7.  Just like the major 7th chord, a standard triad is built out of the R-3b-5 and the 7th tone is added in.

Here are some of the common ways that these chords and notes will be referred to. Cm7, Dm7, Em7, Fm7, Gm7, Am7, Bm7, Cmin7, Dmin7, Emin7, Fmin7, Gmin7, Amin7, Bmin7.

Begin by plucking the sixth string.  Do not use your fretting hand.  You will hear an E note.  If you play a string without using the fret, you are playing the note “open”.

The next thing to do is to move downward and play the strings “open”.  You will hear the A, D, G, B, and E notes, in that order.  Each note will sound higher than the one preceding it.

After you have done this, return to the sixth string and take your index finger and place it on the first fret.  

The first fret is the space between the nut and the first fret.  You should be using the index finger on your fretting hand.  Now press down the note with the tip of your index finger instead of the joint.  

As you hold the index finger down on the initial fret, use the hand with the pick in it and pluck the sixth string.  If you have done this right, the sound that you hear should be a little higher than when you first plucked the string without holding down the fret.  

Next move the index finger up to the second fret.  This is the space between the second and first frets.  Pluck the sixth string once more.  You should hear a higher sound than the previous one. 

Repeat these steps with every string.  Play the string open, place your finger on the first fret, and then place your finger on the next fret.  If you hear notes that are bad, muffled or off-key, make sure that you are firmly pressing down on the note and that your finger is on the center of the fret.  

Continue to practice until you are comfortable making each note.  

After you have practiced playing notes, you can move on to playing chords.  A chord is two notes that are played at the same time.  Chords create a richer sound than what you would hear if you played each note by itself.  

Most chords are three notes that are played together.  Some chords include more than three notes.  Chords involved playing multiple strings together.  

This is “strumming”.

The most common chords are “Major” chords and these are the chords that beginning guitarists usually learn first.  The major chords are C Major, A Major, G Major, E Major, and D Major.   

These chords are a combination of different sets of notes.  When theses notes are played together they create a sound that is unique.  

Many of your all-time favorite songs are played by using three or more chords.  Let’s discuss fingering positions, exact notes and patterns of strumming that are used in “Major” chords.  

To play a C Major chord, place your ring finger on the third fret and fifth string.  Then place your middle finger on the second fret and fourth string.  Last, place your index finger on the first fret, second string.  

Now, starting on the fifth string, strum the 3 string quickly.  Don’t play the sixth string.  

 The C Major chord should look like a staircase.  The index finger forms the lowest step.  

It will feel odd when you begin to work on chords in this way but the more you practice chords and as your fingers become stronger, you will not have a problem forming chord structures with your hands.  

Don’t worry if when you begin practicing chords that sound horrible and the notes sound strange.  As they say “practice makes perfect.”  

To play the a Major chord

Put the index finger on the second fret and fourth string.

Put the middle finger on the second fret and third string.

Put the ring finger on the second fret and second string.

Now, beginning with the fifth string, strum the strings quickly.  Don’t play the sixth string. 

Put the index finger on the second fret and fourth string.

Put the middle finger on the second fret and third string.  

Put the ring finger on the second fret and second string.

Now, beginning with the fifth string, strum the strings quickly.  Don’t play the sixth string.  

The A Major chord is harder to play than the C Major chord because three fingers are crunched together on the second fret.  

Play the chord a couple of times so you can see how it sounds and feels.  If you continue to have problems or your fingers are big and cannot fit together on the second fret, you may want to try other fingerings.  

One solution is to use the middle finger instead of the ring finger to press down the second and third strings together.

To play the G Major Chord

Put the middle finger on the third fret, sixth string.

Put the index finger on the second fret, and fifth string.

Put the finger on the third fret and first string.

Now strum the strings quickly. 

Put the middle finger on the third fret, sixth string

Put the index finger on the second fret, and fifth string

Put the finger on the third fret and first string.  

Now strum the strings quickly.  

To play the G Major chord you can use a number of different fingerings, though the one described above is simplest for beginning guitar players.  

To play the C Major chord

Put the third finger on the fifth string and the third fret.

Put the second finger on the fourth string and the second fret.

Put the first finger on the second string and first fret.  Make sure you do NOT strum the sixth string and strum the bottom.

Put the third finger on the fifth string and the third fret.

Put the second finger on the fourth string and the second fret.

Put the first finger on the second string and first fret.  Make sure you do NOT strum the sixth string and strum the bottom.  

To play the E Major Chord

1. Put the middle finger on the second fret and fifth string

2. Put the ring finger on the second fret and fourth string

3. Put the index finger on the first fret and third string.

4. Now strum the string quickly.  

E Major is the best known of the chords because it is found in the most memorable rock and blues songs.  

Remember not to worry if the notes don’t sound right or if they sound muffled.  If you practice, you will be able to press down the right notes on the right strings. 

To play the D Major chord:

1. Put the index finger on the second fret and third string

2. Put the ring finger on third fret and second string.

3. Put the middle finger on the second fret and first string.  

4. Begin with the fourth string and play the notes quickly.  You will not play the fifth of sixth strings.

The D chord is the hardest for beginning guitarists.  This chord is that hardest one to make sound correctly.  But again, with practice you should not have any problems.  

When just learning to play the guitar, changing chords quickly can be very difficult.  I recommend that you work with A chords first, followed by the E chords.  

Practice moving from A to Am to A7, it's simply the removal of a finger or placing a finger in the same string set but different fret.  Work through all of your chords this way.  

Then, practice moving from a C to an Am to an E.  

Close your eyes and feel where the chords are and learn to trust your hands.  

Very rarely do you see musicians stare at their guitars while they play.  Practice for accuracy then speed.  Give yourself the freedom to make mistakes, because EVERYONE does!  But the more often you practice and self-correct as you are learning, the easier it will get it!

Learning Scales

If you happen to know anything about playing the piano, you know that a “scale” is a group of notes that are played in succession in ascending or descending order.  There are a number of different scales.  

Each scale has unique characteristics, musical qualities, and note patterns.  We will talk a little bit about scales and how to use them to improve your guitar playing.  

Practicing and playing scales can be unexciting and tiresome but you can do it.  Scales can help make your fingers stronger, improve your ability to learn advanced techniques such as guitar solos and improve hand-eye coordination.

The most basic scale is the chromatic scale.  

To begin playing the chromatic scale:

1. Start by playing the sixth string “open”

2. Take your index finger on the hand you will fret with and press down the first fret on the number six string.  Pluck it again.

3. Using the middle finger, press down the sixth string at the second fret and play the sixth string again.

4. Utilize the ring finger to press down the third fret and play the sixth string.

5. Utilize the pinkie finger to press down the fourth fret and play the sixth string again.

6. Continue with these steps with the rest of the strings. 

You have now played your first scale! ☺  

Other scales are the Major Scale and the Minor Pentatonic Scale.  You will learn these scales as you continue practicing the guitar.  

After you have learned notes, scales and chords, you are now ready to play songs.  Many people have their personal favorites whether it is their favorite songs, favorite bands, or favorite pieces of music.    

Most everyone knows their favorite songs by heart and they are anxious to play them.  This is great.  However, it is best to slow down and learn a few basic songs that can assist you in getting the feel for the structure of songs and the feel for timing.  You will also get your first opportunity to sing along with your instrument.  

There are a few songs that are good for beginners  

- Blowin’ in the Wind by Bob Dylan

- Leaving On A Jet Plane by John Denver

- For What It’s Worth by Buffalo Springfield

These songs can assist you in practicing chords:  

1. The Gambler by Kenny Rogers

2. Brown Eyed Girl by Van Morrison.  

Let’s start with the basic notes and symbols that you should learn, when starting to play the guitar. It’s best that you learn to read music in notation, however if you prefer to learn ‘tabs’, you’ll need to understand other symbols in order to successfully understand tablature music sheets.

Getting Down To Basics

Staff:  This is the set of lines upon which notes are placed.  Beginning from the bottom line and continuing to the top, notes read E G B D F (rhyme to help remember, Every Good Boy Does Fine).  The notes in between are F A C E.

Bar Line:  Bar lines are used to separate measures in a musical piece.

Double Bar Line:  A double bar line is used to separate to major sections of music inside a piece.  They may be used at a temp change or key change.

Accolade:  Used to connect two or more lines of music that are played at the same time.

Treble Clef:  A treble clef, also known as a G clef, is the most common clef used in music.  G clef is derived from the stylized G shape of the clef and the inside spiral circles the G line on the staff.

Key Signatures:  Flat key signatures will indicate which note will be flatted.  Sharp key signatures will indicate which notes will be sharp.  

Specific Time:  The bottom number (4) refers to quarter notes.  The top number (3) indicates how many quarter notes you will find in a measure.  In this case there will be 3 quarter notes per measure.  

Also referred to as Three Four time.  

This will vary from piece to piece as there are numerous specific times.

Common Time:  Common time is used today to represent 4/4 time.  Also referred to as Four Four time.  If it is used as specific time it would indicate that there are 4 quarter notes per measure.

Cut Time:  Cut time is just like it sounds.  It represents 2/4 time.  Also referred to as Two Four time.  The same is true here also where there would be 2 quarter notes per measure.

Whole Note:  A whole note gets four beats.  In 4/4 time it would count an entire measure.

Half Note:  A half note gets two beats.  In 4/4 time two half notes would be played.

Quarter Note:  A quarter note gets one beat.  In 4/4 time four notes would be played.

Eighth Note:  An eighth note receives a half beat.  In 4/4 time you would play eight notes per measure.

Sixteenth Note:  A sixteenth note receives a quarter of one beat.  In 4/4 time you would play sixteen notes per measure.

Thirty-second Note:  A thirty-second note receives a sixteenth of one beat.  In 4/4 time you would play thirty-two notes per measure.

Sixty-fourth Note:  A sixty-fourth note receives a thirty-second of one beat.  In 4/4 time you would play sixty-four notes per measure.

In a typical measure you will find a variety of notes and will very rarely contain all of one note.

Whole Rest:  A whole rest gets 4 counts.  In 4/4 time it would receive 4 counts per measure and in 2/4 time it would receive 2 counts per measure.

Half Rest:  A half rest gets 2 counts.  In 4/4 time it would receive 2 counts per measure and in 2/4 time it would receive 1 count per measure.

Quarter Rest:  A quarter rest gets 1 count.  In 4/4 time it would receive 1 count per measure and in 2/4 time it would receive ½ count per measure.

Eighth Rest:  An eighth rest gets ½ of one count.  In 4/4 time it would receive ½ count per measure and in 2/4 time it would receive ¼ count per measure

Sixteenth Rest:  A sixteenth rest get ¼ of one count.  In 4/4 time it would receive ¼ of a count per measure and in 2/4 time it would receive 1/8 of a count per measure.

Thirty-second Rest:  A thirty-second rest gets 1/16 of one count.  In 4/4 time it would receive 1/16 of a count per measure and in 2/4 time it would receive 1/32 of a count per measure.

Sixty-fourth Rest:    A sixty-fourth rest gets 1/32 of one count.  In 4/4 time it would receive 1/32 of a count per measure and in 2/4 time it would receive 1/64 of a count per measure.

Dotted Note:  Placing a dot to the right of any note value lengthens the value by one half its value.  A dot can also be placed to the right of a rest causing the same to happen, increased value.

Beats per Minute:  This indicates how many quarter notes will occur in one minute.  You should really have a metronome so that you understand tempo and you can set the beats per minute.  A metronome is a piece of equipment that keeps time.  You can buy this at a music store.

Extended Rest:  An extended rest will cover more than just a specific amount of time inside a measure.  It will be for the indicated number of measures.  In this case it is 10 measures of rest.

Learning Tablature

Tablature, tab for short, is a form of musical notation with an emphasis on fingerings rather than traditional notation.  Tablature is commonly used for fretted instruments.

The problem with tablature is that it doesn't indicate note length or duration.  This is where understanding note values will help as most tablature is written below standard notation.

Tablature is a closer visual representation of your guitar fretboard, thereby making it easier to interpret music.  It virtually doesn't require any training to become quite good at reading it.

Tablature takes the guesswork out of which fret to play chords or notes.  

Standard notation has often left this a gray area but in some cases will indicate frets by placing roman numerals below the staff.

Below is a sample of what guitar tablature looks like and how to read it.  Some key points to remember are that tablature will be read upside down in comparison to how the strings are on your guitar.  

If you remember, your strings read from top to bottom EADGBE.  

Tablature reads from top to bottom EBGDAE.  

Each of the single columns represents a chord fingering.  The G string is pressed in the 1st fret and the D and A strings are pressed in the 2nd fret.  

One problem with tablature is that it doesn't indicate correct finger positions for the chords.  

Correct finger positions are essential as we move into barre chords, commonly known as power chords used in most music.

If you begin reading tablature instead of notation, you'll find yourself able to get through a piece more quickly, but limited in many other ways as tablature lacks musical structure that makes a song beautiful and dynamic.

Guitar Theory

It is crucial that you learn the fundamentals of music so that you can start programming your brain to think in terms of how different chords blend together, and what the different scales are. 

Music theory will give you a greater understanding of what you are playing and why. Even though it’s not the most enjoyable part of learning guitar, it’s the “homework” you need to do in order to improve your playing style, and to genuinely understand the technical aspects of playing, so that you can develop the skills needed to play like a pro! Let’s begin with major scales: First, you should understand there are only twelve notes in existence.  

C C#/Db, D, D#/ Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, B, C.  

This is called a chromatic scale which includes every note used when playing guitar.  A chromatic scale consists entirely of half steps.  Take special note that there isn't an E# or Fb, B# or Cb.

Example:  In ascending order, C to C# is a half step, C# to D is a half step, D to D# is a half step, etc.  In descending order, C to B is a half step (note that there isn't a Cb or B#), B to Bb is a half step, Bb to A is a half step, etc.

A scale is comprised of 8 steps, which can be either whole or half steps.

Example:  C D E F G A B C.  C to D is a whole step, D to E is a whole step, E to F is a half step, F to G is a whole step, G to A is a whole step, A to B is a whole step, B to C is a half step.  

Notice that the half steps occur where the notes don't exist (E#, Fb, B#, and Cb).  

The major scale formula is this:  WWHWWWH. You’ll want to make sure to learn this!

Major Scales: 

C Major Scale:  C D E F G A B C ( 0 sharp, 0 flat)

G Major Scale:  G A B C D E F# G ( 1 sharp, f#)

D Major Scale:  D E F# G A B C# D ( 2 sharp, f#, g#)

A Major Scale:  A B C# D E F# G# A ( 3 sharp, f#, g#, c#)

E Major Scale:  E F# G# A B C# D# E ( 4 sharp, f#, g#, c#, d#)

B Major Scale:  B C# D# E F# G# A# B ( 5 sharp, f#, g#, c#, d#, a#)

F# Major Scale:  F# G# A# B C# D# E# F# ( 6 sharp, f#, g#, c#, d#, a#, e#)

C# Major Scale:  C# D# E# F# G# A# B# C#) ( All sharp)

F Major Scale:  F G A Bb C D E F ( 1 flab, Bb)

Bb Major Scale:  Bb C D Eb F G A Bb ( 2 flat, Bb, Eb)

Eb Major Scale:  Eb F G Ab Bb C D Eb ( 3 flat, Bb, Eb, Ab)

Ab Major Scale:  Ab Bb C Db Eb F G Ab ( 4 flat, Bb, Eb, Ab, Db)

Db Major Scale:  Db Eb F Gb Ab Bb C Db ( 5 flat, Bb, Eb, Ab, Db, Gb)

Gb Major Scale:  Gb Ab Bb Cb Db Eb F Gb ( 6 flat, Bb, Eb, Ab, Db, Gb, Cb)

Cb Major Scale:  Cb Db Eb Fb Gb Ab Bb Cb ( All flat)

You should also learn the ‘circle of fifths’, which is a wheel of information that helps you learn scale construction, note names and references, as well as key signatures.

When you are trying to figure out which note will be sharp, look to the previous note on the wheel beginning with F (F C G A E B). A Gmaj. Scale has 1 # which is F#, etc.   

When you are trying to figure out which note will be flatted next, look to the next note beginning with B (B E A D G Cb).  An F maj. Scale has 1 b which is Bb, etc.  

You will also need to learn the notes contained on a fretboard. 

Each string will contain a chromatic scale, which is the 12 notes.

Your open string note will be the same as your note at the 12th fret and that is the case for every string.  

Here is an exercise for you to learn:  Keep in mind that when you ascend (climb) the fretboard, practice the notes in sharps.  

When you descend the fretboard, practice the notes in flats. 

Repeat this with every string.  Practice first for accuracy, then for speed.  

Minor Scales

A minor scale is going to have some of the same principles as a major scale.  It still consists of 8 steps, some whole steps and some half step.  

The formula for a minor scale is: WHWWHWW. 

C minor scale:  C D Eb F G Ab Bb C

D minor scale:  D E F G A Bb C D

E minor scale:  E F# G A B C D E

F minor scale:  F G Ab Bb C Db Eb F

G minor scale:  G A Bb C D Eb F G

A minor scale:  A B C D E F G A

B minor scale:  B C# D E F# G A B

C# minor scale:  C# D# E F# G# A B C#

Eb minor scale:  Eb F Gb Ab Bb Cb Db Eb

F# minor scale:  F# G# A B C# D E F#

G# minor scale:  G# A# B C# D# E F# G#

Bb minor scale:  Bb C Db Eb F Gb Ab Bb

Harmonic Minor Scales

A harmonic minor scale builds off a natural minor scale.  

To play a harmonic minor, you raise the 7th step of the scale by a 1/2 step.  The formula for this scale is:  WHWWHWH.

Example:

Natural Minor Scale:  C D Eb F G Ab Bb C

Melodic Minor Scale:  C D Eb F G Ab B C

Your harmonic minor scales will look like this:

C harmonic minor scale:  C D Eb F G Ab B C

G harmonic minor scale:  G A Bb C D Eb F# G

D harmonic minor scale:  D E F G A Bb C# D

A harmonic minor scale:  A B C D E F G# A

E harmonic minor scale:  E F# G A B C D# E

B harmonic minor scale:  B C# D E F# G A# B

F# harmonic minor scale:  F# G# A B C# D E# F#

C# harmonic minor scale:  C# D# E F# G# A B# C#

G# harmonic minor scale:  G# A# B C# D# E F##(G) G#

Eb harmonic minor scale:  Eb F Gb Ab Bb Cb D Eb

Bb harmonic minor scale:  Bb C Db Eb F Gb A Bb

F harmonic minor scale:   F G Ab Bb C Db E F

Analyze and learn this! You have probably noticed the double sharp in the G# harmonic scale.  A double sharp essentially means you raise the note a whole step instead of a 1/2 step.  

As indicated above an F## is the same as a G.  The same principle applies to a double flat.  

You would lower a note a whole step.  A Bbb would be the same as an A.  Again it's the same as math, if you increase by 2 half steps, you have a whole step.  

If you lower by 2 half steps, you have a whole step.  2 halves equal a whole.

Melodic Minor Scales

A melodic minor scale builds off of both the natural and harmonic minor scales.  This is accomplished by raising the 6th step 1/2 step.

Example:

C Natural Minor Scale:  C D Eb F G Ab Bb C

C Harmonic Minor Scale:  C D Eb F G Ab B C

C Melodic Minor Scale:  C D Eb F G A B C

Here's the trick with a melodic minor scale!  In classical music theory, a melodic minor scale is only used while ascending.  

When you go to descend, it switches back to a natural minor scale.  

Here's what that looks like:  C D Eb F G A B C C Bb Ab G F Eb D C.  

Choosing Your First Guitar

When you are just beginning to learn the guitar you may wonder which is a better learning guitar, an acoustic guitar or an electric guitar.  It is best to consider a variety of things when making your decision.

Maybe one of the most important things to consider when picking a guitar is the type of music you want to play on it.  If you like rock music and want to play like the great rock guitar heroes, you should obviously pick an electric guitar.  

However, if you enjoy acoustic music you should choose an acoustic guitar.  

It is important to consider these things because if you purchase a guitar that is not right for you, then you will not be motivated to play it on a regular basis.  

Your personality may be a factor in choosing what guitar to start with or it might not matter at all.  There are some people who want to see results right away but if they don’t they get frustrated; lose interest and stop playing the guitar.  

If you think you are this type of person, consider an electric guitar.  These are smaller than acoustic guitars and have smaller necks.  

It is much easier to press the strings so you will have the ability to play your guitar basics faster and easier.  Even so, there are some buttons on an electric guitar that may make playing music more complicated.  

Be sure to consider your budget when purchasing your first guitar.  Of course you do not want to pay a lot of money on your very first guitar. 

 It is also unwise to pay a lot if you don’t think you will continue to play it over time.  Because of the expense, acoustic guitars are the preferred first instrument.  An electric guitar is more expensive because you need to buy an amplifier and a guitar cable along with the guitar.  

If you still feel like you want to buy an electric guitar, check your local music store to see if they offer start-up guitar and amplifier packages at a price you can handle.  

Something else to consider is purchasing a guitar stand.  This is a wise investment because if you have your guitar on the stand at all times, you will probably find yourself practicing and playing on it a lot more.  

There are various guitars that are recommended for the beginning guitarist.  If you have an electric guitar you may want to keep it plugged into the amplifier, that way when it’s time to practice all you need to do is turn the amplifier on and get started.  

If you want to sing along with your guitar and have the patience, you may want to purchase an acoustic guitar.  There are a few acoustic guitars that are great for beginners.

The Seagull S6 is an instrument made in Canada and is highly recommended by guitarists.  The Seagull produces beautiful sound and has a lot of value.  This guitar has a cedar top and mahogany on the sides and on the back.  

The price of the Seagull is about $350.  This may be a little more than what you want to spend on a first guitar but it is a good investment.  It is not easy to find the Seagull S6 but if you call around or search the internet you may be able to find one.  

The Yamaha F310 is not as highly regarded as the Seagull but it is still a good instrument for a beginning guitarist.  These guitars normally cost $250 or you can find them even cheaper if you look online.  There are other Yamaha acoustic guitars available but they may cost a little more.  

The Takamine G-340 is a beginner model that has a spruce top that is laminated.  In general, it is not as good as some of the higher end models of the Takamine but you still get good value for your money.  

The Fender CD110E is cheaper than other models of the fender.  The CD110E has a nato back, sides and neck along with a spruce top.  The cheaper model may not always have the best workmanship but the price makes it attractive to beginner guitarists.  

The Epiphone DR-100 is a good starter guitar.  The DR-100 has mahogany sides and back and a spruce top.  You can buy this guitar cheaply.  Most individuals consider this an instrument for beginners only so you may quickly want to buy a better guitar.  

There are a number of good guitars available if you want to start with an electric guitar.  

The Squier Fat Stratocaster is one of many Squier models available at a good and low price.  You may need to be wary of the hardware and pickups but this really depends on how the guitar is made.  This is a great beginner guitar.  The appearance is appealing.

The Epiphone G-312 SG is not expensive and a decent choice for beginners.  The G-312 SG is built with cheaper hardware and pickups of low quality.  The body of the instrument is alder.  The neck is mahogany and the fingerboard is rosewood.  It is a good value according to experts.   

The Yamaha Pacifica 112 has a rosewood fret board, maple neck and alder body along with two coil pick-ups.  The guitar is well made and the craftsmanship is high.  It is a great value and those who want to become serious guitarists may want to upgrade the electronics of this guitar.  

The Danelectro 56-U2 is a low cost and cheap instrument but guitarists like its distinct look and sound.  It is a guitar with a hollow body and feature dual stacked volume controls and lipstick pickups.  

The Epiphone Les Paul Special II is modeled after one of the most famous guitars known, the Les Paul.  This low cost guitar has a mahogany neck, rosewood fingerboard, and a laminated alder/maple body.  The guitar is marketed toward those that are just beginning to learn the guitar.

If you are a new guitarist, trying out a guitar in the music store may be intimidating.  There may very well be other guitarists in the store who think they need to show off their skills.  They have a need to impress others with their great guitar licks and chords.  This can be intimidating; of course you’d like to be able to show off like this as well.  However, stay focused.  Your goal is to find the best instrument for you for the least amount of money.   

When you enter the store, look around until you find an instrument to your liking. The store employees should give you a sturdy stool.  They should also give you a pick but it is probably best to bring one of your own.  If you are trying out an electric guitar, it should be plugged into an amplifier that is similar to the one you are going to use.  

To hear the sound quality of a guitar, don’t be afraid to strum the strings hard.  Listen to the guitar’s sustain and listen for problems such as buzzing strings.  If you cannot hear the guitar well, ask to be put in another room or to be moved to a part of the store that is quieter.  

If you come up against music store owners that frown on you tuning up the guitar or vigorously strumming, politely hand the guitar back to the owner and take your business elsewhere.  It is important to know how a guitar sounds before spending your hard earned money on it.  

You should also keep in mind that when trying out a guitar you don’t need to play something complicated.  Play something you are used to playing.  Concentrate on how the guitar sounds and feels.  

Do not pay attention to the people who may be listening to you.  Play every fret on the neck of the guitar and be sure that you don’t hear any buzzing.  Be sure that if you are playing an electric guitar try various pick-ups and listen for any pick up noise you don’t want.  

Try out many different guitars in the music store.  Ask a lot of questions and take notes on each guitar you try out.  You should jot down the make, model and price of the guitar.  

Find out what kind of wood the guitar is made from.  Make a note of anything you like or dislike about each guitar you try.  After trying out a few guitars head home and consider what you discovered that day.  

After you have played a number of guitars and found some that suit your taste.  Research the companies who make the guitar you are considering purchasing.  There are websites available that can help you familiarize yourself with the companies and their instruments.  

The majority of guitar company websites provide specifications for each of their guitars.  You may also find additional information on the guitar you want to buy.  Check the guitar company website for warranty information as well.  

The websites will most likely have contact information so you can e-mail or call them with any other questions.  

Of course it goes without saying that a guitar company website will be biased so you will need to discover what other guitarists think of various guitars.  The web has many, many sites that have user reviews of guitars. 

When looking at these reviews take note of the amount others have paid for their instruments and seriously look at any criticisms.  You should be careful of those who give their own guitar a perfect ten.  A lot of reviewers will not offer constructive criticism.     

Look in your yellow pages to find music stores near you.  Think about visiting each store and trying the guitars they have for sale.  Call the music stores and inquire to see if they carry the type of guitar you are looking for.  

If they do have it in stock, have the store quote you a price.  Sometimes you may run into a store employee who does not want to give you a quote over the phone.  

If you say that you are about to purchase a guitar somewhere else, they will most likely change their mind.  Note any differences in prices when calling music stores.  

If after your initial research you are still not sure of what guitar is right for you, go to FretBoard, an online bulletin board that helps guitarists.  Someone should be able to assist you.

After you have acquired enough knowledge about the guitar you want to buy, make another trip to the music store.  Wait until the next day because your head will be clearer and you will have a better perspective.  

Once you return to the music store and know what guitar you want to purchase, you will want to get the guitar at a good price.  Many individuals assume that if a guitar costs $600, they will have to buy it for that amount.  

This is not true.  Those who own music stores make a profit on what they sell in their store so they are able to drop the price of the item.  You just have to get them to do that.  

You will have to be savvy if you want a bargain.  The music store employees want you to spend your money and you want to hold on to as much of your money as possible.  As mentioned earlier, you are the one that is in control.  

Since the music store wants your business there is nothing wrong with making them earn it.

Keep a few things in mind when you go back to the music store.  Like in any sales transaction, do not let the salesperson know just how much you want the product their selling.  

Do not let the sales person know just how badly you want a particular guitar.  If they approach you and want to assist you, just tell them that you have noticed some nice guitars as you have been shopping around.  

Before you get down to bargaining for the guitar you should ask if a guitar case is included.  Ask if the guitar case is softshell or hardshell.  A softshell guitar case costs less than a hardshell guitar case.  

Try a few guitars when you return to the music store.  If you feel like it, pretend you want to buy a cheaper guitar than the one you are really interested in.  

If a salesperson sells you a cheap guitar, they will get a small commission.  Because of this, they will be more eager to give you a bargain on a guitar that is more expensive.  

Don’t make it seem that you are in a rush.  Take your time and think about whether the guitar you researched is really the guitar you want.

Remember to never pay the list price for the guitar you want.  In general, list prices are inflated.  A lot of people find it difficult to bargain with a salesperson for a discount.  It is not as difficult as it may seem.  You can start by asking for the entire price, including the guitar, tax and the case.  

When they tell you, think for a moment and ask them what they can do to make the price a little cheaper.  Have in mind, a price that you want to pay.  

It may be a good idea to try and get a 15 percent discount.  If you know of a store where you know they are offering a lower price on the same guitar you want, let the salesperson know this.  You may have to apply pressure to get your bargain but you can get used to doing this.  

If the guitar you want is on sale or if it is already a low priced instrument, it will be hard to convince the salesperson to drop the price even more.  If this is the case, you might want to ask if they could throw in some guitar accessories at no charge or at a steep discount.  

This may include items such as guitar strings, guitar polish, picks, or string winders.  This may not be the discount that you want but it will be good to know you bargained successfully.

Final Words & Tips

Since you now know the basics on how to play the guitar, it is now your job to get better at everything you have learned.  To perfect your skills you should practice regularly.  

Practicing the guitar can be aggravating and tiresome but if you get better at playing the instrument then you will end up having more fun.  You will begin enjoying practice more and more.

To improve your guitar playing, you will have to set aside time to practice.  

It is important to set aside time every day to practice.  

Spend at least fifteen minutes a day practicing what you have learned.  This will help you a great deal.  In the beginning you will have sore fingers but if you play every day, your fingers will get tougher and after a time they will not hurt anymore.

There are a few things that you can do to get into the habit of practicing your guitar.  Be sure to put aside between fifteen and twenty minutes a day to practice.  Practice in an environment that is quiet and you can put your complete concentration on practicing your guitar. 

 Be sure to stretch your arms hands and fingers before you begin to play.  If you are playing an electric guitar remember to turn off the distortion so that you can clearly hear your mistakes.  Know what you are going to practice ahead of time because this makes your practice a whole lot easier. 

Be sure your guitar is in tune.  Be sure that you are sitting properly, holding the guitar properly and using the pick in the right way.  Then play the chromatic scales a couple of times.  

Practice chord changes and progressions till you know them like the back of your hand. Once you have a good feel for your 5 basic chord forms, start learning the ‘caged’ system.

Strumming Tips:

1. Be sure to hold your pick correctly.

2. Be sure you don't hold the pick too tightly.

3. In a downward motion, lightly glide the pick over your strings.

4. Don't try and strum to fast.  Go for accuracy then speed!

5. Practice strumming whole notes, half notes, quarter notes, eighth notes, and sixteenth notes.

6. Practice note values using a downward strum first.

7. Practice note values using a down/up pattern (go for accuracy!).

8. Integrate down down up up using note values.

9. Strum with your wrist, not your arm

Don't limit yourself to one genre (style) of music.  You should really diversify.  You will learn so much more by listening to rock, jazz, blues, bluegrass, classical, and Spanish styles of guitar.  

Be sure that as you learn that you spend time with people that are musicians.  Learn from their experience and expertise.  

Remember to be patient.  Playing the guitar is difficult in the beginning but keep in mind that everyone has problems when they learn an instrument for the first time.  

Just put in daily practice and don’t concern yourself with how you did until you have another practice session. 

Most importantly, relax when you play and have a good time! 

To your strumming success,

~ Learn With Motive

[blackspotguitars]

The A major guitar chord is a pretty important chord to master. You will certainly make use of this particular chord in a great many songs, and thus perfecting it is vital to be able to play your favorite songs on the instrument.

In this post, I will illustrate a few ways to play the A major chord in case you’re a beginner. Furthermore, you will discover more challenging voicings of the A major guitar chord at the end of the post, along with the barre chord version.

We need to get started with some easy music theory about the A major guitar chord.

Chords are comprised of 3 notes, meaning you need to play three notes in order to form the A major chord. All these notes are derived specifically from the A major scale.

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Which notes compose the A major chord?

The A major guitar chord is made from notes A, C#, and E.

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You’ll discover a number of chord charts in this post. The numbers within the dots will indicate which finger on your fretting hand goes where:

The 1st finger will be your index finger

The 2nd finger will be your middle finger

The 3rd finger will be the ring finger

The 4th finger is your little finger

For anybody who is not used to deciphering chord charts yet, learn them first.

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How To play the A chord on guitar

Here are several ways to play the A major chord on the guitar.

Quick tip: a smart way to master a brand new guitar chord is to utilize the chord-on/chord-off method. You just play the chord, strum the strings, let it go, and repeat.

Play each variation loads, and you will learn them soon.

Easiest A major chord for beginner guitarists

Here is the most simplified way to hold down the A major guitar chord. As you will observe from the chord chart directly below, you only need 2 fingers to form this chord shape.

Easy A major chord fingering

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This is how to fret the A major chord:

Place your 1st finger on string 3 at fret 2.

Put your 2nd finger below it on string 2 at fret 2.

The high E string is played open.

The lowest 3 strings are not played.

Now strum the chord, and ensure all of the notes ring out clearly.

Congrats, you can play an A major chord!

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The tone might seem slightly thin, but that’s because you are strumming only a couple of guitar strings. Larger sounding variants of the A major are coming.

Full sounding A major chord

This variation of the A major chord is somewhat harder, but it sounds far nicer. If you’re able to play the easy version mentioned above, you need to get started discovering this voicing as well.

Full A major chord fingering

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Here is how to play the full alternative of the A major chord:

Put your second finger onto string D at fret 2.

Now your third finger goes to string G at fret 2.

And last of all, your fourth finger to string B on fret 2.

The low E is not played with this chord, while strings A and high E are played open.

You can also use your 1st, 2nd and 3rd fingers to hold down this chord shape.

Pluck each string in the chord, and make certain all notes are ringing cleanly.

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  This is the most commonly used chord fingering of the A major guitar chord.

When you hear somebody say “Play the A major chord”, this is in all likelihood the fingering they are referring to.

A major chord variation

Keep reading because I have another variation of the A major chord, this is a commonly used one as well.

A major chord alternate fingering

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Here are the finger positions to this voicing of the A.

Place your second finger across strings D-G-B at fret 2.

Mute the high E string.

The A string is played open.

Don’t play the low E string.

You can also use your 1st finger to fret this version of the chord shape.

Now pluck each string in the chord and be sure the chord rings out nicely.

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So now you know three ways to play the A major, well done!

More alternatives of the A major guitar chord

There are in fact lots of alternatives of the A major, you just taught yourself the most used variants.

Here are the chord charts to numerous other variants of the A major chord.

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When will you use which? It actually hinges on a few things:

You would usually opt for a voicing which is near where you are on the guitar fretboard already.

The genre may also influence the spot where you form the chord. For example, you play lower variants in heavy metal, while in funk music, you use higher pitch ones.

Beginner video guitar tutorial on the A major chord

Since music is an audible art, let me suggest an outstanding YouTube guitar lesson on how to fret the A major chord on the guitar.

Take note of the guitar teacher’s fingers and wrist position.

The A major barre chord

Barre chords are quite hard, so if you have only recently started playing guitar, stay with the easier versions until you get better.

If you have been learning guitar for a while already and want to find out how to play the barre chord variation of the A major, here you go.

We’re going to start with the E shape barre chord voicing of the A major, rooting on the low E string.

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Here’s how to fret the A major barre chord rooting on the 6th string:

Use your 1st finger to form a barre across all strings at fret 5.

Your 3rd finger goes to fret 7, string A.

Your 4th finger goes to fret 7, string D.

Your 2nd finger goes to fret 6, string G.

And remember, strum the chord, and be sure the chord rings out nicely. You never want to hear any buzzing strings or muted notes.

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Barre chords are tricky, you will have to practice them quite a lot.

An additional commonly used fingering of the A major chord makes use of the A shape barre chord.

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Here’s how to fret the A major barre chord rooting on the A string:

Use your 1st finger to form a barre across all strings 1-5 at fret 12.

Now go ahead and arrange your other fingers to form an E shape barre chord by putting your 3rd finger onto fret 14 on strings D-G-B.

And as always, pluck each string in the chord, and make certain the chord rings out clearly. As I mentioned, barre chords are tricky. You shouldn’t expect to master them too quickly.

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Practice frequently and you’ll be able to play the A major barre chord before long.

5 Easy A Major Guitar Chords (with Charts & Fingerings) The A major guitar chord is a pretty important chord to master. You will certainly make use of this particular chord in a great many songs, and thus perfecting it is vital to be able to play your favorite songs on the instrument.

[p4tuning]

Lesson One - All Fourths Tuning

     This is the first lesson about the All Fourths Tuning , which is also known as Perfect Fourths Tuning, P4, or simply Fourths Tuning.

Many guitar players use different tunings apart from the standard tuning. The use of nonstandard tuning is much less common than standard tuning, yet nonstandard tunings cannot be said to be "rare", and casual and serious guitarists alike may want to try them out.

Alternate tunings may involve tuning-up a string, tuning-down a string, a combination of the earlier two, or even using strings with different gauge.

A few bands, especially Sonic Youth, are noted for rarely or never using standard tuning.

Among alternative tunings for the guitar, All Fourths Tuning is a regular tuning - which means that all strings are tuned in a similar way compared to each other. To be precise, all strings are tuned a Perfect Fourth apart.  In contrast, the standard tuning has one irregularity—a major third between the third and second strings—while having perfect fourths between the other successive strings. The standard tuning's irregular major-third is replaced by a perfect fourth in all-fourths tuning.

The standard tuning in a guitar is, as you should already know:

E-A-D-G-B-E ;

in the All Fourths Tuning, the B and E strings are most commonly tuned one semi-tone up :

E-A-D-G-C-F;

other combinations are possible, like dropping the four bottom strings for a semitone, which can be written as :

Eb-Ab-Db-Gb-Cb-Fb or Eb-Ab-Db-Gb-B-E or D#-G#-C#-F#-B-E.

The regularity of scale- and chord-patterns reduces the number of finger positions that need to be memorized. Jazz musician Stanley Jordan plays guitar in all-fourths tuning; he has stated that all-fourths tuning "simplifies the fingerboard, making it logical".

Among all regular tunings, all-fourths tuning E-A-D-G-C-F is the best approximation of standard tuning, which is more popular. An advantage of standard tuning is that it has many six-string chords, unlike all-fourths tuning. All-fourths tuning is traditionally used for the bass guitar; it is also used for the bajo sexto.

All fourths

The consecutive open notes of all-fourths tuning are spaced apart by five semitones on the chromatic circle, which lists the twelve notes of the octave.

Who can enjoy the  P4 Tuning?

People who prefer logic to remembering chord and scale positions depending on which string is the starting point.

Everybody willing to try out something new.

People already comfortable with note names, note positions, intervals.

Everybody who would like to try composing music in a different manner and a new style.

People who like to play Metal, Hard Rock and similar genres, as the power-chord shape is always the same, ideal for rhythm guitar in metal and rock/hard rock.

People who want to try out two handed tapping style and can’t afford / don't want to play a Chapman Stick or Warr guitars.

Bass, Upright Bass, Piano and Ukulele players learning guitar.

People with multiple guitars – you can keep playing in your tuning while learning P4 on your other guitar.

 You should avoid P4 if :

You are a beginner (some basic chords are much harder to play, and standard tuning has it's own reasons).

You want to play in the traditional way and don't have the time or will to learn everything from scratch.

You are a who don’t want to change their fingerings, or are comfortable with the standard tuning.

You think that it is a weird tuning.

You don't like the tuning.

Advantages and disadvantages of P4 :

+ Intervals are consistent visually.

+ Chords are consistent string-wise.

+ Scales are consistent all over the neck.

+ Changing key and tuning the guitar a whole step down/up requires less adaptation time as you are likely to be less focused on open chord shapes and more focused on scales and intervals.

+ Switching from a 6 string to a 7, 8 or 9 string, a bass or even bajo quinto/sexto becomes easier and requires less adaptation time, assuming they are tuned to all fourths.*

- The standard barred chords are difficult to grab.

-  The basic open string chords do not work, because you lack the B and E (but there are lots of new and interesting ones).

-  Classic pieces composed with standard tuning in mind are difficult to play for the same reason. - Other types of compositions that are composed with the standard tuning in mind may also, in entirety or parts, be difficult to play, for all the reasons stated above.

* A bass and a bajo quinto/sexto are, depending on the string count (4, 5 or 6 for bass, 5 or 6 for the bajo) traditionally tuned to (B)EADG(C) and (E)ADGCF, i.e. tuned in all fourths. A 7 string guitar is usually tuned to BEADGBE although AEADGBE is also popular - you would have to tune the high B and high E to a C and F, just like with a 6 string guitar. An 8 string usually has all the 6 strings of standard tuned 6 string guitar  - in addition to those it either has one higher A string and one lower B/A string, or it has 2 lower, usually a B and a F# or A and E or B and E. I don't think there really is a standard tuning for anything above 7, so you have to tune the guitar yourself, but you see how it generally goes.

[thegrandstudentdestinything-blog]

The haunting seems of the Oud dates back to 5000 a long time in the past and when played by King David and is nonetheless getting played today. The Oud instrument is the king of the Arabic audio instruments

Oud According to El-Farabie, the Oud dates back again to the days of Lamech a sixthgeneration descendant of Adam. Lamech was identified as the “Father of the Oud players”. The initial appearance of the Oud was 3000 BC. The desecrated skeleton proposed the kind of the Oud. Oud is acknowledged as the 1st stringed instrument in heritage. The oldest pictorial report of the Oud dates again to the Uruk period of time in Southern Mesopotamia (Iraq), above 5000 several years in the past on a cylinder seal obtained by Dr. Dominique Collon and the seal is at the moment housed at the British Museum.. As the Oud becomes the quintessence of before chordophones, it also constitutes their practical synthesis. In the ninth century, Miwardi, the jurist of Baghdad, extolled its use in treating disease, this kind of as King David did by means of his lifestyle with his Oud. The Oud was in the hands of Egyptians and Iraqis when the Israelites came out of Egypt. They took the Oud with them to the Holy Land. The Oud nevertheless maintains its Egyptian and Iraqi attributes and musical stylings. The Oud was played in sacred locations these kinds of as the temples of Egypt. In the very first centuries of Arabian civilization, the oud had four courses (a single string for each training course – double-strings came later on) only, tuned in successive fourths. These had been referred to as (for the least expensive in pitch) the Bamm, then came (larger to maximum in pitch) the Mathnā, the Mathlath and the Zīr. A fifth string (greatest in pitch, most affordable in its positioning in relation to other strings), named ḥād ("sharp"), was sometimes extra for theoretical reasons, normally to complement the double octave. The neck, joined to the human body, is explained as 'unq ('neck') in classical writings and the raqba ('neck') or zand ('wrist') nowadays. It extends the upper component of the instrument by some twenty cm and is inserted into the soundbox up to the soundhole. This length, which has been considerably discussed, is essential in the instrument's construction, deciding the variety and location of the intervals and thus impacting the modes. In early 19th-century Egypt, Villoteau gave the measurement as 22.4 cm a century later on, also in Egypt, Kamil al-Khula'i gave it as 19.5 cm. In modern day Egypt, the size of the neck might range amongst eighteen and twenty.five can. It is standardized as twenty cm in Syria, but a length of 24.5 cm may be found on Moroccan versions, he 'ud 'arbi (Arab 'ud). If the 'ud 'arbi is the descendant of an archaic model of Andalusian provenance, the higher component of the instrument might have turn into shorter. The neck not often has 4. Versions of the 'ud (i) Two-string 'ud:The thesis of its existence has been upheld by musicologists from Europe and Iran it envisages the archaic 'ud as a counterpart of the tanbur, obtaining two strings like that instrument. The argument rests on the names of the strings, two of which are Iranian terms (bamm and zir) and two others of Arab origin (mathna and mathlath). There is no circumstantial documentary evidence to help this hypothesis. (ii) 4-system 'ud: The Arabian 'ud qadim (historical lute), in certain, invited cosmological speculation, linking the strings with the humours, the temperature, the elements, the seasons, the cardinal points, the zodiac and the stars. The strings might be tuned bass to treble or treble to bass. Bass to treble tuning is represented by al-Kindi (ninth century), who advocated tuning the least expensive training course (bamm or first string) to the lowest singable pitch. Placing the ring finger on a mathematically determined length of this string, a single moves on to deduce the pitch of the 3rd open up training course (mathna), then that of the next (mathlath) and lastly the fourth (zir). (This method is also used to the five-system 'ud and is even now employed as a tuning strategy, following the sequence one-four-2-three-5 or one-four-two-5-three.) Adherents of the reverse college (Ikhwan al- Safa') tune from treble to bass. The intention, inherited in portion by the Turkish 'ud, involves pulling tough on the zir (higher) string, so that as it ways breaking-stage it presents a clear seem. A single then moves on to decide the pitch of the next program (mathna), the 3rd (mathlath) and lastly the fourth (bamm). These two colleges did not continue to be fully individual. But whichever method is utilized, equally stop up with tuning by successive 4ths, each and every course currently being tuned a 4th over the lower program previous it. Musicologists, Japanese as well as Western, who consider to interpret the pitch of these notes in European phrases end up with diverse final results. Although the four-training course 'ud survives in Morocco, as the 'ud 'arbi, the tuning does not conform to the pitches inferred from classical treatises: a conflict among oral and composed traditions. The Moroccan approach looks to be the solution of a preceding program, the 'ud five ramal, which also comprised a sequence of 4ths: ramal (?e), hsin, (?a), maya (? d'), raghul (?g'). This 'ud, like its Tunisian counterpart, may possibly be variously tuned: a attribute of these tunings is that they juxtapose the classic 4ths with the octave and often the 5th and sixth (D-d- G-c). The strings of the 'ud 'arbi are named dhil, ramal, maya, hsin this terminology by no signifies refers to a fixed pitch common this kind of as educational and standardized tuition approaches would would like for. At the time of al-Kindi, two of the programs were made of gut and two of silk. In the tenth century silk turned predominant and some texts give the composition of the twisted threads: bamm = 64 threads, mathlath = 48, mathna = 36, zir = 27. The figures for the lower programs of the 'ud correspond with those of two upper strings of the Chinese qin, a simple fact that has led to speculation about the romantic relationship in between Arab and Chinese civilizations by way of the Silk Route. Yet another characteristic of the 4-course 'ud is that it is bichordal, possessing double courses. thirteenth-century iconography displays that it was already normal to pair the strings at that time, possibly to enhance sonority but also to permit the improvement of a far more virtuoso sort of overall performance. (iii) Five-program 'ud: The addition in Andalusia of a fifth training course has been attributed to Ziryab (8th-ninth century), though in theoretical writings it appeared in Iraq with al-Kindi. (The addition of this extra system has a parallel in China.) With Ziryab the fifth course, acknowledged as awsat ('intermediary'), a time period perpetuated in the 'ud of San'a' known as qanbus, is put between the next (mathna) and third (mathlath) programs. With al-Kindi and his successors, it was to attain the stop of the instrument and turn out to be the string called hadd ('high') or the 2nd zir. (In accordance to oral tradition, to receive an octave on the extended-necked lute baglama, a reduced string need to be placed in the center. This is carried out when the neck has few frets.) As the historic 'ud did not have a two-octave compass, the physical appearance of the fifth string corresponded to the calls for of a new system. The four-training course 'ud had no need to run correct through the octave. Its repertory was carried out on a tetrachord or pentachord, transposable an octave larger. With the five-course product, the heptatonic system imposed total series of octaves. The new lute was referred to as 'ud kamil ('perfect 'ud'). The 5-system 'ud is the most widespread and most well-known product amid performers. It has also been named the 'ud misri (Egyptian) due to the fact of the finely created instruments produced by the lute makers of Egypt, who export them as significantly as Zanzibar. The individuals of North Africa have included the dialectal name of m'sharqi or mashriqi ('of the east'). The technique of tuning it, extremely adaptable in the nineteenth century, is now getting to be stabilized. These modifications are owing partly to the crack-up of the Ottoman Empire, which has induced a rupture between Turkish and Arab cultures, and partly to the proliferation of educating approaches endeavouring to impose a solitary type of tuning, working from low to substantial: yaka = G 'ushayran = A duka = d nawa = g kardan = c'. Nonetheless, there are variants reintroducing tuning by 4ths. Thus what is explained as 'Aleppo tuning' consists of: qarar busalik = E 'ushayran A duka =d nawa = g kardan = c'. This latter composition is utilised in Turkey and Iraq. To reply the sensible specifications of present-working day notation, a treble clef adopted by the figure eight is utilized. This procedure has been considerably criticized by those in favour of employing the bass clef. The tuning of the Turkish lute faithfully reflects the Arab type but in reverse, looking through in descending order: gerdaniye = g' neva = d' dugah = a asiran = e kaba dugah = d (this final, a lot more mobile pitch may similarly settle on G. This outdated tuning represents the 'old school' (eski akort), and has now been replaced by an ascending tuning - the 'new school' (yeni akort): A-B-e-a-d'-g'. However it is now considered incorrect in the Syro-Egyptian spot, and agent of the aged Ottoman faculty, a tuning method in ascending buy survives in Iraq. It is made up of: yaka = d 'ushayran = e duka = a nawa = d' kurdan = g'. The compass of the bichordal five-program 'ud is just in excess of two octaves in Turkey, it is three octaves with the addition of a lower system. Arabian instruments can accomplish this by the addition of a sixth training course. (iv) Six-course 'ud: Two varieties of 6-training course 'ud exist: a single has six pairs of strings, the other 5 pairs with an further reduced string. The very first was found by Jules Rouanet in North Africa in direction of the end of the last century tuned inclusively it has considering that disappeared except in Libya, six where it is still created but with distinct tuning. A related instrument, identified in Syria, is tuned C- E-A-d-g-c'. The instrument with five double strings and a one lower one, nevertheless, is turning into progressively common from Istanbul to Baghdad. It has become widespread to place the extra string after the highest (or chanterelle). Its pitch is at the choice of the player no rule is laid down. The presence of the extra string endows the instrument with a broader range and improved ease of enjoying, permitting the performer to operate very easily by means of three octaves. The sixth program is also coming to be employed as an intermittent drone, a new phenomenon. (v) Seven-program 'ud: 7-system types, based on a sophisticated system of tuning, had been identified in Egypt and Lebanon in the 19th century but have not been observed because 1900. There is 1 exception: the Tunisian, Fawzl Sayib, is a living learn of the 7-system instrument in the six pairs and 1 minimal arrangement. A characteristic of this 'ud was that it reversed the arrangement of strings, positioning first the higher and then the minimal strings on the neck from remaining to appropriate. In accordance to Mikha'il Mushaqa (1800-88), only four of the 7 programs had been played, the lowest course (jaharka) and the two maximum (busalik and nihuft) getting unused in performance. The University of Oud On-line, is a system constructed to educate the Oud by means of Skype by the migrant Oud learn Ramy Adly, an Egyptian well-known Oud Participant, Ramy Adly is a youthful learn of the oud, the functional lute-like instrument that shaped Arab classical songs. Grounded in the principal Arab classical styles many thanks to arduous coaching in his indigenous Egypt, Adly has branched out repeatedly, incorporating jazz idioms and embracing discussions with other musicians about the planet. Adly has carried out all around the Center East, Europe, and North The united states. He has composed songs for theater and movie, and gathered a big number of students all around the planet, by way of an revolutionary on-line curriculum he created, named The University of Oud Online. His delicate, sturdy enjoying has been read from the Library at Alexandria to American cathedrals and schools. Now dependent in Washington, DC, Adly proceeds to broaden the choices of his instrument. “I want to deliver the oud to the identical level as the guitar culturally, the instrument that is almost everywhere and can do every little thing,” he exclaims. For Adly, the oud has usually been like a member of the household. Almost every person in his loved ones played the oud when he was growing up in Cairo, like uncles, siblings, and his beloved grandfather, who gave him his 1st introduction to the intricate, evocative instrument. “I grew up listening to the oud,” he recalls. Listening is 1 factor, and mastering the instrument one more. Adly plunged into his review of this age-outdated instrument at the Arab Oud Home, with Iraqi oud virtuoso Naseer Shamma. Adly located himself working towards for a dozen hours a day, and loving it. “It was a great deal like the system Paganini proven for his students,” Adly points out. “You have to go by means of the fire to be qualified as a performer and composer. I graduated as the two composer and soloist.”

[friedpenguintaco-blog]

The Ultimate Guide to Notes on a Guitar

 The Ultimate Guide to Notes on a Guitar

The Ultimate Guide to Notes on a Guitar

Whether you want to learn to improvise jaw-dropping solos, play brilliant classical etudes, or anything in between, learning where to find notes on a guitar is an important step in your musical journey.

How Guitar Strings Work

Understanding the basic mechanics and parts of a guitar is important in understanding how to play each note on a guitar.

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In the simplest of definitions, a guitar works by disrupting air around the strings, creating a vibration. That vibration is then amplified by the hollow chamber (in the cause of an acoustic guitar) of the guitar and by the guitar bridge to create the sounds you hear.

The speed and depth of the string’s vibration influences the pitch of the sound that comes from the guitar.

Electric guitars work in a similar fashion, but instead of the sound vibrating through a hollow chamber, the sounds of the strings vibrating against the bridge are amplified by an outside speaker. Electric guitars, on their own, are very quiet.

The strings don’t produce much noise unless an amp is attached, because the sound of the string has no hollow chamber to travel into.

A traditional guitar has six strings. Each string is responsible for a different note.

The string’s width influences the amount of vibration that’s produced by the string, which influences the sound of each note.

The length of the string also comes into play. You may notice that a mandolin, for example, has a higher pitch than a traditional acoustic guitar. This is because the strings are shorter, and thus the sound needs less time to travel.

Frets, which will be covered in-depth below, can help you change the pitch of a note, or change the note of a string to a completely different one.

Notes on a guitar are both fluid and concrete. An open string on a well-tuned guitar will always be the same note, but pressing the frets down to alter the distance between the string and the bridge can completely change the resulting sound.

Guitar String Notes

The notes on a guitar are created by the strings of the guitar.

When holding a guitar, the thickest string, the E string, is at the top of the guitar. The E note is the deepest note.

The strings get progressively thinner and the notes get progressively higher in pitch. They’re responsible for the A, D, G, B and e notes, respectively.

The thinnest string, which is situated at the bottom of the guitar when you’re holding it, is responsible for the e note, which is two octaves up from the low E note.

As you may note on your guitar, there are also marks along the neck of guitar. These markers indicate the different frets on the guitar. Your guitar may have anywhere between 16 and 24 frets.

When you strum a string without pressing down on a fret, it’s known as an open chord. Each fret represents one half-step of the musical scale.

In order to play a higher pitch note, regardless of the string you’re playing, your hands would be placed on a fret closer to the bridge of the guitar. If you’re fretting at the second fret marker on the guitar, the low E turns into an F sharp, which is often denoted as F#.

Focusing on the low E string, holding down the first fret will produce an F, while holding down the second fret will produce an F#; the third fret will produce a G and the fourth, a G#. The seventh fret on the low E string will produce the B note, while the eighth fret will produce the C note.

This process can be replicated on each of the remaining five strings.

How to Learn Guitar Notes

For the novice guitar player, the above information may seem complicated. Remember: rock stars, professional session players, and even music teachers started at the same place you are now.

The good news, however, is that if you can master the notes on a guitar and gain an in-depth understanding of how they work, you’re well on your way to truly understanding music theory and being able to play the songs you hear on the radio on your guitar. So, you’re probably wondering about the best ways to learn notes on a guitar.

Learning to play a musical instrument isn’t easy, especially for individuals who have never picked up the instrument before. The guitar, in particular, can seem confusing, but it really is a relatively straightforward instrument to play, and once a student understand the basics, it’s perhaps the most enjoyable instrument out there.

To learn the basics, including the anatomy of a guitar, students would be best served learning from a private instructor.

A private instructor can offer the guidance and explanation needed for students to truly understand the structure of the guitar.

This is important framework for understanding how notes on a guitar work, and how they work together to create chords, chord progressions, and eventually songs.

To start learning the notes on a guitar, you’ll need to memorize them.

To do this, you can take yourself back in time to when you were first in grammar school. At some point you probably used mnemonic devices to remember grammar rules or the planets in the solar system.

Simply put, a mnemonic device is a technique that helps you remember something by attaching a rhyming scheme to it, or a phrase.

When it comes to the notes on a guitar, the strings progress as E, A, D, G, B, E. Several professional musicians use the mnemonic device, “Eddie ate dynamite, good-bye Eddie:”

Mnemonic devices can help you remember the names of each note, but for this to be truly helpful, you’ll need to memorize them with the guitar in front of you.

Playing each note while reciting it out loud is perhaps the best way to learn the basics. Experts suggest starting with open notes. An open note, as you know, is simply the act of strumming a string without fretting.

The guitar strings are tuned in intervals of 4ths, starting from the lowest pitched string.

That means that the next higher string is 5 half-steps above the previous string. This is true for all sets of strings except for the relationship between the 3rd and 2nd string, which is a 3rd interval (4 half-steps) instead of a 4th interval.

Start by identifying and memorizing all interval fingerings within an octave that are in a practical position to play on the guitar.

For example, looking at the chart to the left, find all the A’s. You can play A on the fifth fret of the E string, on the open A string, the seventh fret of the D string, the second fret of the G string, and so on.

When you reach the fingering of a 5th interval, you’ll have 3 practical shape options:

-Same string / 7 frets up

-Next higher string / 2 frets up

-Skip a string / 3 frets down

Keep in mind to compensate for the 3rd interval tuning between the 3rd and 2nd strings whenever you use or cross over the 2nd string.

Once you feel comfortable with visualizing all possible fingerings within an octave, it’s time to explore these same intervals but in reverse. This time around, let’s start with the first note on the first string and work ourselves down in pitch using the same interval fingerings but in reverse. Remember to stick to practical fingerings that you can incorporate into your playing.

The next step would be to explore interval fingerings that are larger than an octave. You can use the next higher or lower octave note as an anchor point to help you visualize where you need to go.

This alone will take lots of patient practicing and visualizing. If you’re a visual learner, looking at a guitar fretboard chart – like the one pictured – can really help. You can use this chart to practice even when you don’t have a guitar around.

Yes, it may sound cliché , but now that you have a basic understanding of the notes on a guitar and how they all work in conjunction together, the best bet to nailing down these very basic concepts is to practice.

Experts suggest looking at the notes and playing each one so you can gain a better understanding of how each note sounds. Experts also suggest completing note exercises with an electric tuner attached to the guitar. A tuner is a small device that connects to the neck of the guitar and measures the tone of each note.

Mostly used to help players tune their guitar, it’s a great learning tool too. It can help you understand how each note should sound when the guitar is correctly tuned, and it’ll further help you understand how the notes on a guitar are connected to the strings that are being strummed.

Remember to have fun with the practicing process. When you step out of a private lesson, you shouldn’t simply put your guitar away for the next week.

Instead, go home and have fun with what you learned.

Try out different notes, follow along to your favorite songs, and try to work out the notes that are most commonly used in your favorite music. This will not only give you a deeper appreciation for the art of playing guitar, but it’ll make your practice a fun experience.

Those who have fun with practice are the novice players who advance past learning the notes of a guitar and progress to more in-depth theory, chord progressions, and playing songs.

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Different way to Play Am guitar chord 2021

The A minor harmony is perhaps the most broadly utilized harmonies that can be heard in an assortment of famous melodies. Become familiar with this rich-sounding harmony here.

By Lana Cooper

The Am (A minor) harmony is quite possibly the most generally utilized harmonies that can be heard in an assortment of famous tunes. At the point when played in standard E tuning, the Am harmony has a rich, hefty sound. Furthermore, as most minor harmonies, its tone brings out a solemn or miserable passionate feel.

The Am harmony can be found in tunes across an assortment of sorts, including rock, society and country. How about we make a plunge and figure out how to play it!

Playing the A Minor Chord

The A minor harmony can be really difficult for novice guitarists who haven't developed their finger mastery to make a quick progress to land their fingers on the right strings and frets . Nonetheless, when you take a gander at the sheer volume of tunes that utilization the Am harmony, it's a test worth tolerating.

With some training, you'll have the option to without any problem "nail the finish" and expert the finger situating needed to play the A minor harmony.

To play the harmony, start by putting your first (forefinger) on the principal fret of your B string. From that point, place your second (center) finger on the second fret of your G string. At long last, stretch your third (ring) finger over to the D string on the subsequent fret.

Pointer: first fret of the B (second) string

Center finger: second fret of the D (fourth) string

Ring finger: second fret of the G (third) string

Play 5 strings down from the A string and let the harmony ring out.

What Notes Make Up the A Minor Chord?

There are no pads or sharps in A minor harmony. Maybe, this harmony sounds the accompanying notes when played together:

A, E, A, C, E

When playing the Am harmony, you'll be striking each string with the exception of your low E, regardless of whether you're playing a vertical or descending playing design.

Tunes That Use the Am Chord

When played without help from anyone else, the A minor harmony has a downbeat tone. It's nothing unexpected the harmony discovers its direction into melodies with a thoughtful edge. Notwithstanding, the Am harmony additionally shows up in some up-beat melodies, filling in as a restless differentiation to significant harmonies. Here are a few models:

Rock Songs

Thoughtful exemplary stone melodies like "One" by U2, "Losing My Religion" by R.E.M. furthermore, Creedence Clearwater Revival's "Have You Ever Seen the Rain?" exhibit the sonic force of the A minor harmony to establish the vibe (joke planned) for tunes with heavier expressive substance. Later stone hits like Paramore's "Ain't It Fun" and "The Pretender" by Foo Fighters keep that slant fit as a fiddle with their utilization of A minor.

The Am harmony additionally fits making a disposition for tunes. Observe the hallucinogenic feel of the Clapton-fueled Cream exemplary, "White Room." Or the force number greatness of "Adoration Song" by Tesla. You can likewise hear the A minor harmony make an agitating feel in "Where Is My Mind" by the Pixies, which was included in the last scene of the film Fight Club.

People Songs

The A minor harmony is a pillar in work of art and current society melodies saturated with insightful longing. Its profound, smooth sound could be heard in the similarly profound and smooth voiced Leonard Cohen's notable ditty, "Thank heaven." Covered by everybody from Jeff Buckley to k.d. lang to Rufus Wainwright, the tune verses really call attention to the position of the A "minor fall" and the (F harmony's) "significant lift."

The Am harmony likewise shows up in "California Dreamin'" from '60s society group of four the Mamas and the Papas. Quick forward to the 1990s and Lilith Fair artist musician Jewel meshes the A minor harmony into two of her greatest hits, "Who Will Save Your Soul" and "You Were Meant For Me."

The A minor harmony's inheritance as a staple of genuinely violent people tunes is fit as a fiddle today. Guitarists can hear it in "9 Crimes" by Damien Rice, Bon Iver's "Thin Love," and "Ho Hey" by the Lumineers.

Pop Songs

The A minor harmony isn't all pessimism, in any case. It gives a punchy contrast in up-rhythm pop melodies like "Can't Feel My Face" by the Weeknd and "California Girls" by The Beach Boys. It likewise presents a hot edge to tunes like TLC's "Creep," Peggy Lee's work of art, "Fever", and John Legend's "Every last bit of Me."

While the harmony shows its flexibility in quicker tempoed pop tunes, it actually loans a reflective edge to pieces like U2's "With Or Without You," "The Scientist" by Coldplay and Phosphorescent's "Tune For Zula."

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Remarkable Improvement From This Uncommon Scale

Guitar Control presents instructor Darrin Goodman with another, always free, lesson. Today Darrin teaches a continuation from the last lesson on the Pentatonic scale pattern. This time with an uncommon minor pentatonic scale pattern that will give you remarkable improvement. Be sure to click the link for the free tabs so you can easily follow along with this remarkable pentatonic scale lesson.

Overview

Hey everybody how’s it going? This is Darrin with GuitarControl.com bringing you this video lesson and today I want to do a slight continuation from my last lesson on the minor pentatonic scale. So what I want to show you how to get Remarkable Improvement From This Uncommon minor pentatonic Scale lesson. So you may have heard of the five positions of the pentatonic scale, this is not that per se. So what this is it’s a sequence that’s the same notes in the sequence that we did last time but they’re just arranged differently. So instead of being in a box pattern that’s going vertically across the fretboard, this is more stretched out to kind of go horizontally across the fretboard and you’re playing the same notes, but since they’re arranged differently it will cause you to play this uncommon pentatonic scale differently. I’ll use this uncommon pentatonic scale pattern if I’m doing things with slides and stuff like that because it’s not just two notes per string and some of the strings have three notes. So anyhow it’ll make a lot more sense when we go over it so be sure to click on the link down below to get the tabs and let’s get close up and take a look at this remarkable uncommon pentatonic scale pattern sequence.

Ascending Scale Pattern

All right, so we’re going to do this in the key of E minor so that way it stays the same as what we were doing in the last lesson. So in the last lesson, we did minor pentatonic pattern number one so we started where an E is on the 12th fret; so now for this uncommon minor pentatonic scale pattern we’re going to start on E, but we’re going to start on E on the seventh fret of the A string. So the ascending scale pattern starts there with your third finger and then from there we go to the fifth fret of the fourth string with your first finger. Then the seventh fret of the fourth string with your third finger and then the ninth fret with your third finger. Now from there, we go to the G string seventh fret first finger to the ninth fret with your third finger. So far same notes as is over here but we’re arranging it differently.

All right, so once we get to the third-string or when we’re going to go, we’re going to transition from there to the B string we’re going you have to shift up a half step; so you always have to when you’re going from the G string to the B string since it’s tuned a half step lower, you have to compensate for that and go up a half step. So we ended on the G string on the seventh to the ninth fret, so then the first note that’s on the B string is on the eighth fret so you’re going to want to use your first finger and then from there we go to the 10th fret with your third finger and then the 12th fret with your third finger and then to the 10th fret of the high E with your first finger and then finally ending on the 12th fret of the high E. So you’re gonna do this entire sequence just with your first and third fingers, but there will be times that you do certain licks that you might use other fingers, but for just practicing the minor pentatonic scale ascending, this is the way I recommend to do it; so again starting here on the seventh fret of the A string.

Now a couple of things to kind of help you to remember this is that the root note is on the fifth string, the A string, we don’t play the low E at all, so there is just a single note and then the next string has three notes and the next string has two and the next one has three and the next has two. So if you just remember that it’s a pattern of three notes then two notes then three notes then two notes. Okay so these are the fingerings that I gave you for when we ascend it, so ascending starting here again on the seventh fret of the A string third finger going to the D string first third, third going to the G string, first third going to the B string first third, third going to the high E first third.

Descending Scale Pattern

Now when we descend this uncommon pattern, the fingering changes slightly, so now I’m starting at the 12th fret on the high E with my third finger to the 10th with my first. Now to the B string third finger twelfth fret, first finger tenth and now this is a string that has three notes, so now we’re going to move down to the eighth fret, we’re going to use our first finger, so ascending you use your third to go up, but descending you use your first to go down and that’s just so it puts your fingers in the more natural position to continue on with the scale. Then from there we go to the ninth fret of the G string, so again we’re having that half step compensation for the second string being tuned a half step lower, so that’s nine seven and we go to the D string, nine seven, three notes on this one so now our first finger is going to go back to the fifth fret and then finally ending on the seventh fret of the A string.

Connecting Both Patterns Together

All right, so one other thing I want to show you with is how you can hook this remarkable pattern to the pattern that we did last time. You can connect them together so you can cover a larger area of the fretboard. So how that works is we start with pattern number two here and we’re starting at the seventh fret on the A string because we’re in the key of E, but again this shape is movable so it doesn’t matter what key you’re in it’s always going to be the same sequence. So we play this scale and ascend it all the way to the top and end here on the 12th fret, so when you ascend scale pattern 2 the last note you get to is where your first finger will play for scale pattern number one.

So remember scale pattern number one your first finger plays all of the same fret, in this case when you get up here is just shift up to the second note on the high E in scale pattern number one, which in this case is the 15th fret and then that’ll leave your first finger here on 12 where we end in pattern two and then just descend scale pattern one. So the whole sequence is like this. So after you can do it that way then you want to practice it the opposite way, so start with minor pentatonic scale pattern two and ascend it, the note that your first finger is on is the last note of scale pattern two, so put your third finger there and descend scale pattern two so what you want to do is practice it ascending and descending. So what we’ve done there is we’re in the key of E and we’ve went from the fifth fret all the way to the 15th fret, so we’ve covered a pretty good chunk of the fretboard just by knowing two remarkable pentatonic scale patterns.

In a future lesson I will do some licks and stuff that are based off of both of these pentatonic patterns and how you can kind of hook them together and stuff.

Conclusion

All right so I hope that you found that informative and useful. If you liked the video Remarkable Improvement From This Uncommon Pentatonic Scale pattern, be sure to give me a thumbs up and leave a comment if there’s like something you’d like to see covered in a future lesson by myself or one of the other instructors at GuitarControl.com. Anyway thanks for watching and have a great day.

I hope you’ve enjoyed this article and please remember to check out our entire database of videos here GuitarControl.com

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