Barrett's Guitar Q&A

2008-04-10T22:30:00.000-07:00

Upcoming CD Released Free, One Track
at a Time

The tunes are all written, and I'm spending lots of time in the studio now. It's all instrumental rock, with an emphasis on melodic soloing and cool arrangements, with the requisite hot licks and some shredding here and there.

When the songs are all mixed and mastered, you'll be able to download one song for free each month. Every month the free song will be switched to a different one off the album. You can contact me to be notified when the CD is available or when each new monthly song is available. Just state your preference. If you give me your address I won't give it to anyone else. No time for marketing shenanigans. I will only contact you when I have new product!

Of course you'll also be able to buy the CD right away if you want CD quality, or if you don't want to wait for the songs. That would be nice.

Help with Guitar Fretboard Workbook, pg 10: Root Shapes; also Dropped Tunings

2008-04-04T22:13:00.000-07:00

Hi Barrett,
[...I am on the 2nd chapter of the Fretboard workbook where you are talking about root shapes. I totally understand memorizing the the C notes for the Key of C... but once you mention G and then go on to the exercises I am lost. I guess I understand that the shapes work in a train like pattern... when a certain shape starts at any given point on the fret board the next shape will be the same as it would be if that shape started anywhere else....

I am looking at the finished example in exercise 4 page 10. Do I need to know the key before I can make the shape? Maybe I am reading too far into this but I am just so lost. Is there a book that I should read before this one? Once again thank you for taking time out of your day to try to ease my mind...]

Steve S.

First quick answer: you are correct, you don't need to worry about keys or note names to do Exercises 4 and 5. There is no way to know them yet. I just show you a starting note in Exercises 4 and 5. At the moment it doesn't matter what the name of the note is.

In a way, I'm glad that you got stuck on Exercises 4 and 5 and not a later one. It gives me the opportunity to say right up front that you need to go slow and be patient. We all do. Part of what makes it hard is that you probably expect yourself to just rip through it because you've been playing for years. You don't need another book to prepare for this one, but be ready to spend a long time on each chapter. It's not like a chord chart that you can strum through in a day or two.

The only prior knowledge you need for Exercises 4 and 5 is contained in the book. Make sure you know your correct fret and string numbers as shown on page 6. If you have to stop and think about those, it'll make you forget what you're doing when you try to do the later exercises. It's like math in that way. You have to learn how to count without thinking before you learn to add and subtract.

You may want to review pages 8 and 9 every day for a week or two. The root shapes need to be memorized so well that you could teach them to someone else. Throughout the book, wherever I have you repeat things aloud, I'm telling you they should be memorized that firmly.

When you can play the five patterns of root shapes (as shown on page 8) without looking at the book, you are playing every C note on the guitar---except for some high ones way up the neck.

The demonstration diagrams are not completely abstract, with no note names, because I want to stress the fact that the big sequence of five root shapes stays the same when the key changes. So the diagram is shown in the key of C on page 8, and in G at the bottom of page 9. The main concern at this point, however, is not note names or keys, but just learning the relative locations of the notes within the root shapes and the exact order those root shapes follow.

So please bust out some blank paper and draw the exact same "C" diagram for yourself. Then draw the same diagram two more times, moving each note one fret higher each time. The shapes should stay the same, but you will be drawing all the roots in C#, and then in D. It'll be just like sliding a clear plastic template with dots on it over the graph formed by the strings and frets.

Then, to further cement the knowledge, please answer these questions for me.
(The answers are further down in this post.)
1. Which root shapes have a note on the 3rd string?
2. I have my first finger on the 6th string at any fret. Which root shape can I play?
3. How many frets apart are the roots in pattern 5?
4. I have my pinky finger on the 2nd string at fret 4 (or higher). Which root shape can I play?
5. Which root shapes have a note on the 4th string?
6. I have my 2nd finger on the 5th string at fret 4. Which root shape can I play?
7. Which root shapes have a note on the 1st string?
8. In pattern 1, the roots are two frets apart. Which strings are they on?
9. If I have my first finger on the 5th string, which root shape can I play?
10. What if I have my 4th finger on the 5th string? Which root shape can I play?

You are correct when you say "when a certain shape starts at any given point on the fret board the next shape will be the same as it would be if that shape started anywhere else." You can start with (for example) pattern 2 at the first fret, and go up from there to pattern 3 at fret 3.

It's the same as if I told you to recite the alphabet starting from the letter E, you could say, "E F G H I J," and so on. If I told you to recite it from the letter W and start over when you hit the end, you could say, "W X Y Z A B C," etc. The same applies to the five root shapes. Pattern 5 is always followed by pattern 1 as you move up the neck.

When you go back to the book on page 10, I suggest you do Exercise 5 before Exercise 4. Experience has shown that Exercise 5 is a little bit easier for most people; I think it's because it doesn't make you think about your fingers as much.

answers
1. Patterns 2 and 3
2. Pattern 4
3. 3 frets apart
4. Pattern 5
5. Patterns 4 and 5
6. Pattern 2
7. Patterns 3 and 4
8. Strings 2 and 5
9. Pattern 2
10. Pattern 1, but only if the 4th finger is at fret 2 or higher.

OK, please work on that and get back to me.
Barrett

Thanks for the great reply! Ok... so I think I am starting to get it now. Looking at excercise 5 helped me. But lets make sure I am thinking about this the right way. If you look at exercise 5 number 2... the first notes is on the 3rd fret on the b string. So I look up at exercise 1 and I see that the note appears twice in that position on the b string not just on the 3rd fret. So then I apply the pattern that I see in the 1st exercise to number 2. So anyway... this means that anytime I have a root on the high e string/low e string it means that it will involve a triangle pattern.... right? no matter what? As long as I am in standard tuning. Now I usually play in Drop C tuning... CGCFAD. I think thats what... 2 or 2 and a half steps down from D standard tuning? Well how much would these diagrams change? Would I have to memorize another set of diagrams or is there a way to use these? I guess the triangle patterns on the 6th string would be the only ones shifted... but is there an easier way to think about it? I actually just bought your soloing book maybe 30 mins ago from amazon... I know that book is probably over my head until I get this one down. But to be able to solo and play lead riffs in my band is my goal. I can write pretty good stuff but when it comes to playing something different over the other guitar playing riffs... I start to get lost.

Steve

Hi Steve,

You're right. In standard tuning, any time you have a root on an E string, you will have a triangular pattern of roots: either pattern 3 (if your pinky is playing the E-string notes) or pattern 4 (if your index or maybe your middle finger is playing the E-string notes). I think you're getting it. The answers are all in the back of the book to help you make sure.

Dropped D tuning (DADGBE) is the same as standard tuning in its absolute string intervals except for the 6th string. So again you are correct; the fretboard workbook will apply, except that any note on the 6th string will need to be moved up by two frets in the diagram. Also, as I'm sure you know because it's why you're using this tuning, some chords will become available that are not mentioned in the book because they are too hard to play in standard tuning.

If you then tune the entire guitar down a whole step, producing CGCFAD, any note or chord root letter in the book will of course be off by a whole step.

I think it would be a good idea to make a few of your own diagrams (not a whole book's worth) just to get you on track with the tuning you use. It can't hurt. Another thing I'm sure you've considered is keeping one guitar in standard tuning around the house to use when you're working with books or playing along with most of the recorded guitars you hear.

Thanks for buying the other book, Chord Tone Soloing, too! I think you'll like it, and it won't be as tough as you might think to understand. I tried very hard to put every little step in the correct order and keep the learning curve as shallow as possible for the first half of the book. So go ahead and check out the first couple of chapters when you get it, even if you're still working with the other one. I'd be interested in hearing what you think of it.

Barrett

New Guitar Reading Workbook's Out Today (Feb. 15, 2008)

2008-02-16T15:15:00.000-08:00

I got the idea for the Guitar Reading Workbook (click to buy it) from teaching Reading classes to beginning GIT students. I gave them extra diagram exercises sort of like those in my Fretboard Workbook. They said it helped them learn and made the subject more fun, so I expanded the idea into a complete reading method book.

After explaining a topic as concisely as possible, I give a written exercise that solidifies the concept in your brain. Early ones might take about 5 minutes. Later ones can take up to half an hour to complete. The exercises differ from chapter to chapter. Sometimes you just have to write the names of some notes or chords that you see on the staff. In others, you write which beat number a rhythm falls on. Later, you'll read some tab and translate it into regular notation, look at some notes and identify the chord they make, and so on. When you've finished the written part, you pick up the guitar, turn on the metronome, and play the notation.

Throughout the book I try to make everything as easy and clear as possible, so you don't have to ever learn two new things at once. But if you get this book, you should spend at least 6 months to a year with it. Go slowly! It starts out basic but takes you into some reasonably advanced territory.

This new book is available at amazon.com and can be ordered from any regular bookstore (if they don't already have it).

Per the comment below, you can look at a pdf of a couple of sample pages from Chapter Two here: http://monsterguitars.com/gtr-rdng-wkbk.pdf

Sometimes pdf's lock up a browser (though this is a small one - about 65K), so maybe you'd rather right click the link and save it before viewing.

How Long Should I Practice Each Scale Pattern Before Adding Another One?

2008-01-14T18:14:00.000-08:00

>xxxx@xxxxxxx.com writes:
>
> Just picked up a copy of you Chord-Tone soloing book.
> Great reviews is what sold me. I'm just trying to expand
> my guitar knowledge and hopefully my soloing. My
> question is I've come to Major scales chapter 6. As a
> practicing schedule would you like start on pattern 1 for
> a couple of weeks, add two, and so on. Then when would
> you start intervals, and chords and arpegios? I'm trying
> to develop a schedule and I'm just looking for some
> suggestions. Thanks and I'm looking forward in diving
> into your book!!
>
S.S.
> Winchester, KY

Hi S.S,

The short answer is, you know yourself best. If you get them mixed up or start forgetting shapes as you learn new ones, then you're going too fast. I can't give you a set time frame for each thing like one week, two weeks, etc. because it is different for everybody.

You want to gradually add new fretboard shapes (chords, scales, and arpeggios) to your practice schedule in a way that doesn't overwhelm your ability to absorb the information. It's like juggling. Maybe you can juggle four balls but adding the fifth one makes you drop all of them. You'd have to stick with four for a little longer.

I think trying to learn too many new shapes at once is the same way. When you can get up cold in the morning, turn on the metronome, and play a scale pattern in time, with no mistakes on the first try (and it feels like you know it), then it's ok to start working on a new one.

After you know them, you can always benefit by continuing to practice the scales and arpeggios so you don't forget them, and can do more things with them. I still practice them after knowing them for many years, only now I'm practicing longer melodic sequences of notes that use them.

As an example, last night I was practicing this 8-note scale sequence, both alternate-picked and using pulloffs. It is written in pattern 3 of C major.

E|-8-5-7-8-7-5-----|
B|-------------8-6-|
G|-----------------|
D|-----------------|
A|-----------------|
E|-----------------|

When moved through the scale it looks like this. Each measure starts one note lower than the one before.

E|-8-5-7-8-7-5-----|-7---5-7-5-------|
B|-------------8-6-|---8-------8-6-5-|
G|-----------------|-----------------|
D|-----------------|-----------------|
A|-----------------|-----------------|
E|-----------------|-----------------|

E|-5-----5---------|-----------------|
B|---6-8---8-6-5---|-8-5-6-8-6-5-----|
G|---------------7-|-------------7-5-|
D|-----------------|-----------------|
A|-----------------|-----------------|
E|-----------------|-----------------|

This way I'm still practicing the scale, but I'm doing something unfamiliar with it that may become part of a solo or a melody later.

Once you know a shape, you want to do the same: continue to practice it but in a way that you haven't done before. That way you will stay engaged in what you are learning. If you start to daydream about other stuff while you practice, that's bad. Then you're going too slow; so you need to move faster, make it a little harder, or of course, add a new scale, interval, or arpeggio to the list of practice items.

Shoot for a pace that falls between these two extremes and you should be OK!

I hope this helps. Thanks again, and good luck.

Barrett

Building Major Scale Patterns

2007-11-25T21:06:00.000-08:00

Hello Barrett,

First, I want to tell you that your GFW book is one of most successful books that I ever found about learning guitar. Thanks !

I'm studying alone - no teacher. I have some difficulties though in understanding the purpose of root shapes. What is the logic behind root shapes ? Why they are there?

And another question - about building major scale patterns. According to major scale formula it goes WWH,WWWH. When I look at major D pattern (p.24) I see completely different picture, nothing that looks even close to the formula. Why is that? The book doesn't explain that one very clearly.
Thanks in advance for your answer.
Daniel

Hi Daniel,

Thanks for your message, and I appreciate your kind comments about my work.

I'd like to start by answering your second question.

To be clear to everybody reading this, we're talking about the major scale pattern on page 24 (Exercise 12, problem 1) in Chapter 7 of the Guitar Fretboard Workbook.

Rather than just show you a scale fingering pattern and saying, "memorize this," the book sets you up with a few basics that you'll need in order to understand and build your own scale patterns:

1) The root shapes from Chapter 2.

2) The major scale formula: all whole steps except for half
steps from 3-4 and 7-8.
1 2 3^4 5 6 7^8, introduced on page 20 as a one-string scale pattern.

3) How to play whole steps and half steps when changing strings. (This is covered on page 23.)

Make sure you've memorized those 3 things first. The exercise will be confusing unless you know them pretty well. Now we'll walk through the scale-building exercise on step at a time.

The D roots are on the 2nd string, 3rd fret, and the 5th string, 5th fret. Let's find the root shape first and put those circles in. Here’s how it looks in tablature.

E ---------|
B --3------|
G ---------|
D ---------|
A -----5---|
E ---------|

At this point we have two roots. When building a scale, the lowest one is the easiest to start from, because it is from there we can count up the entire major scale formula.

We'll start with the lower root (on the 5th string 5th fret) as "1." The scale from this note will proceed 1 2 3^4 5 6 7^8. (Half steps from 3-4 and 7-8.)

Unlike in Chapter 6, we now want to stay put, so the hand is in position to play the higher root when we get there. No moving around. So, the lower root ("note 1") should be played on string 5, fret 5, with the PINKY or 4th finger.

The fingering is given below the tablature. LH means "Left Hand."

E ---------|
B ---------|
G ---------|
D ---------|
A --5------|
E ---------|
LH: 4

Note 2 is a whole step higher. We are already using the 4th finger for note 1, so (as we learned on page 23) we can play a whole step on the next string (string 4) at fret 2. This note should be played with the index finger. Remember
you're looking at tablature here. It's different from a neck diagram---the notes are written in the order you play them.

E ----------|
B ----------|
G ----------|
D -----2----|
A --5-------|
E ----------|
LH: 4 1

Note 3 is a whole step up from note 2. This too can be played on string 4, with the ring finger at fret 4.

E ----------|
B ----------|
G ----------|
D ----2-4---|
A --5-------|
E ----------|
LH: 4 1 3

Note 4 is a half step from note 3. This is just one fret higher and so should be played with the pinky finger.

E -----------|
B -----------|
G -----------|
D ----2-4-5--|
A --5--------|
E -----------|
LH: 4 1 3 4

From 4 to 5 is a whole step, so we must ascend to string 3, three frets down the neck as we did before. So step 5 is on string 3, fret 2. Index finger.

E -------------|
B -------------|
G ----------2--|
D ----2-4-5----|
A --5----------|
E -------------|
LH: 4 1 3 4 1

5 to 6 is a whole step, which we can play also on string 3, two frets above the previous note, with the ring finger.

E --------------|
B --------------|
G ----------2-4-|
D ----2-4-5-----|
A --5-----------|
E --------------|
LH: 4 1 3 4 1 3

6 to 7 is a whole step, but we just used our ring finger. Using the pinky finger on the same string (without stretching or shifting) will only get us a half step. So we
play note 7 on the 2nd string at fret 2. As shown on page 23 of the book, this gives us a whole step when crossing from string 3 to string 2.

E ----------------|
B --------------2-|
G ----------2-4---|
D ----2-4-5-------|
A --5-------------|
E ----------------|
LH: 4 1 3 4 1 3 1

From 7 to 8 is a half step, which we can play with the middle finger on string 2, fret 3.

E ------------------|
B --------------2-3-|
G ----------2-4-----|
D ----2-4-5---------|
A --5---------------|
E ------------------|
LH: 4 1 3 4 1 3 1 2

At this point we have played/drawn one octave's worth of scale, from D to D. The guitar has more D major scale notes available in this position above what we've drawn. To continue the scale higher we count up the formula again, treating note 8 as the new "1."

E ----------------|
B -3--------------|
G ----------------|
D ----------------|
A ----------------|
E ----------------|

From 1 to 2 in the scale is a whole step; a two fret distance. We play note 2 with our 4th finger at fret 5 of string 2.

E ----------------|
B -3-5------------|
G ----------------|
D ----------------|
A ----------------|
E ----------------|
LH:2 4

From 2 to 3 in the scale is also a whole step. This is a 3-fret distance down the fretboard when going from string 2 to string 1. Use your index finger for the last note in this tab.

E -----2----------|
B -3-5------------|
G ----------------|
D ----------------|
A ----------------|
E ----------------|
LH:2 4 1

From 3 to 4 in the scale formula is a half step, a one-fret distance on the same string. We’ll play it with the second finger.

E -----2-3--------|
B -3-5------------|
G ----------------|
D ----------------|
A ----------------|
E ----------------|
LH:2 4 1 2

The highest D major scale note we can reach without shifting or stretching is the 5th, which is a whole step above note 4. The little finger plays this at the 5th fret.

E -----2-3-5------|
B -3-5------------|
G ----------------|
D ----------------|
A ----------------|
E ----------------|
LH:2 4 1 2 4

To get the available D major scale notes BELOW the lower root, we count the major scale formula backwards, treating this low "1" as "8." Again, we'll be counting DOWN the major scale formula from 8 to 1.
8^7 6 5 4^3 2 1

E ---------|
B ---------|
G ---------|
D ---------|
A --5------|
E ---------|
LH: 4

From 8 to 7 is a half step (one fret when played on the same string). We can play note 7 on string 5, fret 4, with the ring finger.

E ---------|
B ---------|
G ---------|
D ---------|
A --5-4----|
E ---------|
LH: 4 3

From 7 to 6 is a whole step. We can play that with the index finger on fret 2.

E ----------|
B ----------|
G ----------|
D ----------|
A --5-4-2---|
E ----------|
LH: 4 3 1

6 to 5 is a whole step. To follow the "no shifting" rule we have to play this on string 6, at fret 5. Pinky finger.

E -----------|
B -----------|
G -----------|
D -----------|
A --5-4-2----|
E --------5--|
LH: 4 3 1 4

5 to 4 is a whole step. That's two frets down; at fret 3 on string 6. Play it with your 2nd (middle) finger.

E ------------|
B ------------|
G ------------|
D ------------|
A --5-4-2-----|
E --------5-3-|
LH: 4 3 1 4 2

Finally we can use our index finger to play one last half step to get from 4 to 3.

E ---------------|
B ---------------|
G ---------------|
D ---------------|
A --5-4-2--------|
E --------5-3-2--|
LH: 4 3 1 4 2 1

When all notes are included, from root to root as well as those we can reach above or below without shifting, we have created fingering pattern 1 of the D major scale.

E -----------------------------2-3-5-|
B -----------------------2-3-5-------|
G -------------------2-4-------------|
D -------------2-4-5-----------------|
A -------2-4-5-----------------------|
E -2-3-5-----------------------------|
LH:1 2 4 1 3 4 1 3 4 1 3 1 2 4 1 2 4

I suggest taking a break now, and reviewing this process and the scale pattern it creates every day for a week or longer.

When you are clear on it and can play the scale from memory, start the entire process again with pattern 2 of the D major scale. The roots are on string 5, fret 5, and string 3, fret 7. The lower root should be played with the second finger.

E ---------------|
B ---------------|
G -----7---------|
D ---------------|
A --5------------|
E ---------------|

**************************

To your second question---why do we study root shapes---it's for several reasons. First, they show us how to find and name all the notes on the fretboard. If you know the name of one note on the guitar, any note, you can use the 5 root shapes to find the same note in all its other positions on the neck.

Root shapes also provide us with the starting point for building chords, scales, and melodies. The root is the only note that stays the same whether a chord or scale is major, minor, augmented, or diminished or any other quality. For example, look at the Pattern 1 root shape in D again.

E ---------|
B --3------|
G ---------|
D ---------|
A -----5---|
E ---------|

The D major chord in this pattern looks like this. The notes in this chord are Root, 3rd, 5th, Root.

E ------|
B --3---|
G --2---|
D --4---|
A --5---|
E ------|

The D minor chord has the same roots but the 3rd is different.

E ------|
B --3---|
G --2---|
D --3---|
A --5---|
E ------|

The D augmented chord has the same roots but the 5th is different.

E ------|
B --3---|
G --3---|
D --4---|
A --5---|
E ------|

The D diminished chord has the same roots but the 3rd and 5th are different. Don't worry if you can't make this stretch; it's for demonstration.

E ------|
B --3---|
G --1---|
D --3---|
A --5---|
E ------|

I hope I am reading your question correctly. It suddenly occurs to me that you might mean, "Why should I learn this if I just want to play some songs that somebody else has already written?". The easy answer is, you don't. You can just memorize the places where you are supposed to put your fingers.

The real answer comes by way of an analogy. If you were learning to drive a car to a store, someone could show you only the exact moves needed to get there: turn the ignition key until the engine starts, hold the brake down and put the car in drive, and so on, in excruciatingly exact detail until you turn off the car in front of the store!

That method is dangerous. Instead you learn the general principles for safe driving, the location of the place you're headed, and a mental map of the roads in the area.

Guitar playing is the same. Nobody will die if you mess up, but the whole process is easier if you understand and know your options if you take a wrong turn.

-Barrett Tagliarino

Open-Position vs Movable Chords; Open-Voiced vs Close-Voiced Chords

2007-09-16T12:26:00.000-07:00

> xxxx@gmail.com writes:
>
> Hello,
> I bought the "guitar fretboard workbook" and am enjoying
> it.
> I am trying to learn guitar with your book and have no
> teacher.
> Working on the codes (triads), I got a question.
> What's the differences between the open movable codes
> (CAGED form) and the close voiced codes? Close voiced
> codes are also movable and partially barred, aren't they?
> Usages are different?
> I appreciate your answer in advance. Thank you!

Thank you for buying my book. I'm glad you are enjoying it.

The word "open" has two uses. This can cause confusion. The word "position" too has different uses for music in general and the guitar in particular. Semantic problems like this make it a good idea to talk to a live teacher once in a while. I'll nonetheless try to explain "open-position" versus movable chords, then open vs. closed voicings, all on the printed page.

First, "open" means unfretted strings on the guitar. "Position" means the location of the the first finger. "Open position" chords like the C, A, G, E, and D chords on page 44 have open (unfretted) strings included. These are called "open position chords" but since "position" means the location of the first finger on the fretboard for all other chords but these, they might better be called "unfretted-string chords."

The C and E chords might be called "first position chords" because when you play them, your index finger is usually at fret 1. But you could play them (especially the E chord) using only your 2nd, 3rd, and 4th fingers. Try both ways.


 C chord
-0-
-1-
-0-
-2-
-3-
---

 E chord
-0-
-0-
-1-
-2-
-2-
-0-

In the A, G, and D chords, your first finger is usually at the 2nd-fret position. But again, you could play them without using the first finger at all. Try them both ways. When we move the chords up the neck, we'll need that first finger to be free.


 A chord
-0-
-2-
-2-
-2-
-0-
---

 G chord
-3-
-0-
-0-
-0-
-2-
-3-

 D chord
-2-
-3-
-2-
-0-
---
---

Any of these chords is only movable if you replace the open-string notes with fingered ones as you move up. If there was more than one open-string note, a barred 1st finger can be used to do the job that was formerly done by the nut of the guitar. Now the position of the chord is named by the fret where the first finger is.

By moving the E chord up one fret, for example, we get an F chord in 1st position.


F, 1st position
-1-
-1-
-2-
-3-
-3-
-1-

To sum up: "position" on the guitar means the location of the first finger, or where it would be even when you decide not to use it (!), with the exception of so-called "open-position" chords, which must have at least one unfretted string.

The chiming chords that mix open strings with notes higher up the neck are named by the position of the first finger also. This is a 7th-position B(add4) over A.


B(add4)/A
-0-
-7-
-8-
-9-
-0-
---

Next, "open voicings" (page 51) are chords where the notes are not as close together as possible. Now we are not strictly talking about strings or fingers anymore. Open voicings can be played on a guitar, an accordion, or any other polyphonic instrument by making one of the tones an octave higher or lower.

It's still the same chord name (Ami, for example) but now the notes are spread out.
Here are two open-voiced Ami chords. Don't strum all six strings. Just pluck the notes shown fingerstyle.
-0---8-
-1---5-
-------
-----7-
-0-----
-------

For comparison, a close-voiced chord has all its notes as close together as possible. Here are two close voicings of Ami.

-0---5-
-1---5-
-2---5-
-------
-------
-------

In all the above chords the notes are A, C, and E in some order. Musicians choose which version of a chord to use so they can:

1. create a melody on the top when moving from one chord to the next, or

2. create a bass line on the bottom when moving from one chord to the next, or

3. create an inner melody, or

4. make sure some notes stay the same or move as little as possible when the chords change, or

5. create a sound they like for any reason. An example of this might be Jimi Hendrix's open-voiced chords in "Castles Made of Sand" that he apparently chose for their "spacey" texture.

Hope this helps. Let me know.
Thanks,
Barrett

Practicing Arpeggios

2007-08-18T22:32:00.000-07:00

Barrett-

I understand that for a Major Arpeggio - we take the Notes as follows -
   1. ROOT
   2. Maj 3rd
   3. Perfect 5th
    
In other words -i.e. 1 3 5 of the Major Scale.
    
Now what is the best way to practice and use these
practically ?  Like should I first try to figure them out
 using the "5 ROOT SHAPES" ? Do I have to memorise the
 Individual Patterns for each root shape - for each
 Arpeggio ?



Yes, this is a good long term goal. Learning the 5 patterns
of various arpeggio types to the point where you can use
them when improvising will take a lot of practice, but it's
the kind of practice I enjoyed. It will also make you sound
like an accomplished player in the long run.

How do I practice playing arpeggio shapes? Should I practice them in the same way as I did my Scale Shapes (From Lowest to Highest note)?

For a good place to start, yes, it's easiest to begin by practicing from the lowest root, then include all the notes you can reach without shifting. Practice them in eighth notes with a metronome set at a very slow tempo.

The next exercise is to arpeggiate the chords of a short progression; for example |G |Dm |C |F |. Play steady 8th notes and switch arpeggios right on the downbeat. You will play eight chord tones for each measure of music.

When the shapes are familiar enough, start switching by the closest available tone to the last one played.

This example starts on string 6, playing all the way up and then starting down the G major triad arp with the left hand at the 2nd fret. Then it switches to Dm for measure 2. The closest note to the final D (in measure 1) on the 2nd string in the next arpeggio (while moving in the same direction - down) is A on the 3rd string.

G B D G B D G D |

A F D A D F A D |

The next measure's chord is C, and we just finished the previous measure by playing a D on the 3rd fret of the 2nd string. The closest member of a C chord we can reach while continuing to ascend is an E on the 5th fret of string 2. We continue up to G on the 1st string and then change directions on beat 2 of the measure, descending all the way down the C major arpeggio to G on the lowest string at fret 3.

E G E C G E C G|

Now it is time for the F chord in measure 4. Staying in position, we can change directions and head back up, starting with the closest member of an F chord: A on the 5th fret of string 6. We'll end up changing back to a descending line on the final note of the measure.

A C F A C F A F|

We can start the chord progression over again, and this time encounter a new series of notes because the closest one in G is now the D on string 2, fret 3. Each time we repeat the progression, the series should start on a different one of the available tones of G at this position. If you find yourself repeating a series, just move to a starting note you haven't used yet.

This type of arpeggio exercise is explained more fully (and tabbed out) in my "Chord Tone Soloing" book.

Thanks

Barrett

Finding a Private Instructor

2007-07-07T19:45:00.000-07:00

Hey Barrett,
Do you ever teach long-distance private lessons via webcam, emailing files, or anything along those lines? I've been frustrated by a few recent experiences with teachers in my area whose method or temperament didn't suit me.

This is just my opinion, but in spite of your difficulty in finding a satisfactory instructor, I still think a few one-on-one lessons are the way to go. If you live near any medium-to-large-sized city, there must be a teacher with whom you would get along. Maybe it's just a matter of looking in the right place.

Especially for working on rhythm guitar playing, as you mentioned, you need immediate feedback from the instructor---saying "No! That's not it! Stop rushing! Tap your foot, damn it!" or "Yes! That's it!"---as he watches your hands, feet, and body, and plays along with you in real time. It's hard to make that happen online.

Look for somebody who has most of these things:
-is formally educated in music with at least a year at Berklee, MI, or a university,
-is articulate and a good listener,
-is drug-free,
-has played lots of different kinds of gigs,
-is commercially published, or has some charts and/or handouts that he's accumulated for teaching purposes. This shows a commitment to teaching.
-keeps track of your lesson activities
-gives homework, especially when he sees you lack focus.

It's not really necessary that he's an astounding player, unless you're desperate for that kind of inspiration.

Major-Scale Fingering Patterns

2007-04-29T15:01:00.000-07:00

Hello Barrett,
I just bought GFW, and since I like the workbook approach, I just ordered your other 2 books.

I'm just curious, should each exercise be repeated a certain amount of times before moving on to the next one?

Also, one thing that has always confused me about learning scales is that not every author uses the same scale system. Mark John Sternal uses a 3-note-per-string/7 position system, Uncle Tim's books use three positions for diatonic scales (and two positions for pentatonics), while you use 5 to cover the root centers like Fretboard Logic. Should all the various scale systems be learned in addition to the one in your books?

On the first question (should each exercise be repeated a certain amount of times):

My subjective opinion is that more practice of every imaginable type is better, including written exercise beyond all the fill-it-in diagrams that are in the book as is.

You could redraw any new shapes on blank paper and then play them every day for a week or two (or three), until they are committed to memory. Visualize scale fingerings away from the instrument, verbally describe the names of the notes and what strings and frets they are on, and even try teaching them to a friend. That really helps cement the information.

The idea is similar to the Olympic luge racers who use video and visualization to mentally rehearse each section of their course rather than just sledding down the course over and over.

There is not a specific number of repetitions that I'm sure will do the trick for any particular item. Beyond a certain point, rote repetition can cause you to tune out mentally. Do a lot of practicing of course, but as soon as possible make small variations in your approach, like starting a scale from each of its possible notes, starting from the high notes and descending, using different tempos, different rhythms like triplets, applying it over chord progressions, and so on.

Now I'll take a crack at the second question: (Should all the various scale systems be learned in addition to the one in your books?):

The short answer is that the 5-pattern system is most important, but I do also practice the popular 3-note-per-string/7-position scales that you mention are in Mr. Sternal's book, along with other patterns. They are all useful in some way.

The 5-pattern or CAGED system is easiest for relating melodies to the underlying chords, which you'll find out more about when you look at Chord Tone Soloing. You'll probably agree that melody should take precedence over physical concerns.

That said, the 3-note-per-string scales have a certain symmetry that makes them easy to learn and practice. They also let you economy-pick and use lots of hammerons and pulloffs, so they're good for playing fast.

Take your time and really learn the 5 patterns. After the 5 patterns of scales are ingrained you will know where the notes are, so then it's not so hard to connect one pattern to the next. While playing pattern 1, you have to be visualizing pattern 2 so you can move up into it without a glitch. The 3-note-per-string patterns do exactly that: cross from one root shape to the next.

I like knowing where the root is, keeping track of it when playing any pattern. Try yelling out the word "root" whenever you hit that note. Remember, the root is not the lowest note in the pattern. It's the note that is circled in the diagrams, it's the point of musical resolution, it's the "bits" in "Shave and haircut, two bits," and so on. I'm sure you knew that, but I'm playing it safe here.

It's also cool to (later) work out some 4-note-per-string scale fingering patterns. These use all 4 fingers on each string and move through most of the guitar's range. You could crudely call this "Holdsworth" fingering.

Another thing that's useful (but somewhat counterintuitive) is to start high up on the neck (say F on the 13th fret with your 2nd finger) and then play up a major scale using two notes per string only. This forces your hand to move away from the body as you ascend, moving you down from pattern 4 into pattern 3, and so on. You could crudely call this "Django" fingering.

I'm unfortunately not familiar with Uncle Tim's books, so I'm not qualified to comment on his scale presentation. On the surface I can't see how you could easily cover the entire neck with only two patterns of pentatonic scales. I'm not accusing Uncle Tim of this, but I've seen books where some areas of the fingerboard have to be skipped over.

Maybe he uses 3-note-per-string pentatonics, which I'd consider pretty advanced. They require a lot of stretching, and sort of interfere with the standard repertoire of pentatonic blues licks, but they would cover the entire fingerboard.

It could be that he is thinking of something different from me by the word "pattern," which I suppose could mean any collection of fingerboard locations that you're trying to remember. For me, it's something you can play in one spot on the fretboard, with a minimum of position-changing.

Playing with Distortion

2007-04-22T15:14:00.000-07:00

Hi Barrett,

Can you guide me a little regarding controlling distortion?

Actually I find it almost impossible to play with distortion, except when playing power chords. When I try to play a few lead notes (melody) the distortion just becomes uncontrollable and it sounds really very bad. It's like the notes sound bad together with each other (when they mix or sound together).

I really want to practice a few leads, scales, etc., with distortion to learn to play a bit of rock and metal, but I just can't figure out what to do. I tried to mute every note before going to the next note, but it sounds very 'broken" and non-continuous.

How do people play such beautiful and smooth solos with distortion ?
Thanks.

Try this experiment. On your distorted electric guitar I want you to wrap a soft hand towel or a big tube sock around the first few frets of the neck. It should be tightened just enough to completely damp the sound of the strings. If you strum this guitar, it will just go "thunk" and then stop.

Now try playing on the frets above this "damper." If your playing sounds much better than it did before, then you need to work on damping the unwanted noises with your fretting-hand fingers and your picking-hand palm. Instead of completely damping each note before moving on, you should practice an overall mentality of keeping a close grip in either hand, where you are almost muting the note that you are actually playing (or maybe even so that you are muting it, a little) so that all the other strings are definitely damped.

If, on the other hand, it still sounds pretty messy even with the cloth there, then you may have a problem with the number of strings you are pressing down at the same time, or picking accuracy. Practice slowly, making sure that you're lifting your finger off one string just as you depress another, and that you're only picking the one string at a time that you want. Eventually this will become a habit, and you'll have cleaner execution without thinking too much about it.

It is also possible that you are simply using too much distortion. Many beginning players use more than is needed. Try setting it so that a cleanly played note stays at the same apparent volume for about 3 or 4 seconds before it starts to decay; in other words, about twice the subjective amount of sustain as your clean tone.

Try turning down the tone control on the guitar itself. The more "in your face" (bright and trebly) the tone is, the more details in the guitar's sound will be heard, including finger noise, fret noise, and incidentally-sounding strings.

I often play leads with my tone control set at nearly zero when I'm forced to use a solid state amp with a built-in lead channel. There are also many possibilities for improving the tone by turning down the volume knob on the guitar itself. It does many more things than just make it quieter or louder. Depending on the pickups you are using, restricting the guitar's dynamic range by lowering the volume knob can act as a sort of compressor, again smoothing out the sound. Compensate by adding a little more gain at a later stage, like on your distortion pedal.

Finally, consider that your guitar sound is going to be eventually fit into an overall mix that includes drums, bass, and maybe another guitar or keyboard part. While I do recommend learning to play cleanly as possible, a _small_ amount of extraneous guitar noise will not stick out as much in that situation as it does when the guitar is listened to alone.

Barrett

Tone Shaping

2007-03-26T23:17:00.000-07:00

3:59 PM 3/26/2007 My first entry.

Dear Barrett,

I'm using a Guitar Effects software and just wanted to know the meaning of a few terms -

Sir, what do the following terms / Knobs mean and do -

1. Presence
2. Filter

I've read many a times that to get a heavy metal sound (like Metallica's) one should scoop the Mids, Does this mean that we keep the Treble and Bass to the fullest and Mids knob to the full ? If yes then what will the Presence knob do ? I tried to figure it out but couldnt guess very well. If you could kindly advice regarding this, I'll be very grateful to you.

Hi.

Though your question is specifically about guitar effects software, the terms presence, filter, bass, mid, and treble would also apply to an amp and hardware effect units, which is how I tend to think.

A filter is a device that removes part of the audio signal. The tone knob on your guitar is a filter that removes high frequencies while allowing the low frequencies to pass through unchanged.

An equalizer (EQ) is a set of filters that control various frequency ranges. An equalizer with filters only is said to be passive. An active equalizer, on the other hand, can also boost selected frequencies using AC or battery power.

Some effects like wah wah pedals contain variable filters and/or boosters whereby you can actively control which frequencies you want to cut or boost, and the amount by which they are affected, in real time, or according to a programmed cyclical preset.

Though there is no law set by an authority, let's say any frequency below 300 Hz is bass, from 300Hz to 3kHz is midrange, and above 3Khz is treble.

Definitions for the "presence" range vary, but the idea is that it covers part of the treble range (perhaps 4 kHz to 6 kHz) that makes most instruments sound closer and more distinct. Boosting this area too much can make a sound that is irritating, especially when you start to play louder. On some amps, this knob is effectively disabled when the treble control is turned all the way up. The tone controls on many amps do not act completely independently.

The word "scoop" refers to the appearance of a graph of the audio signal. When the mid is "scooped" (like scooping ice cream out of a bucket with a spoon), there is a visible dip in the middle of the waveform. To get a scooped sound, turn down the mid.

Exaggeration of the scooped effect can result in a tone that sounds great at home or in the studio, but causes your guitar sound to disappear when you're playing with a live band.

Sculpting your tone is difficult at first because there is a natural tendency to want to use a visual numeric reference for the various knobs ("Kirk Hammett puts the treble on 7, so I will too"), but really, this won't work. All amps, guitars, microphones, rooms, PAs, and stage setups are different. Ideally you should set the knobs with your eyes closed (and your ears open!), then go stand as far away from your amp as far as your cables will permit. Play with the band, then walk back to the amp and make any adjustments; then run out into the front and repeat the process.

Often there's no time for this, so you should err on the side of caution and keep the tone and volume knobs in a conservative range, just making sure that the snare drum and vocals are louder than your guitar and that you can hear everything else clearly. Notice I did not mention that you should be able to hear yourself. If you can't hear your own playing, sometimes it's because you are standing in the wrong place or you are unaccustomed to the situation.

Avoid cranking up the amp to the annoyance of other players or the audience just so you can hear every detail of your playing as you are used to at home. If you have a sound system, practice with loud backing tracks so you can get used to hearing how your guitar contributes mostly its fundamental pitches and percussive attacks, while some of the details are (rightly) covered up by the other instruments.

Though you should try to get close to your desired sound with your amp, guitar, and fingers, you will never sound exactly like a CD that you want to emulate unless you have the same: pedals, cables, mics, preamps, compressors, equalizers, convertors, clocks, effects, plugins, mixing and mastering software, monitors, ears, experience, etc. etc. Every link in the audio chain has a drastic effect on the end result.

In some cases there is nothing you can do but experiment with different equipment and settings, but personally that is something I enjoy. With that in mind, whenever possible I try to buy only quality equipment that I can sell later if it turns out to be wrong for me. I've gotten stuck with some items like cheap guitars and effects that are impossible to get rid of. Other things, like major-brand tube amps and quality microphones, people buy instantly. These things hold value and sometimes go up. So oddly enough, buying an expensive analog hardware item (amp, guitar, pedal, mic, preamp) can sometimes save you money because a) you'll usually not have to waste time replacing it, and b) if you do, you can get most of the money back by selling it.

A last word about tone: In all cases the overall volume level of the band and the individual instrument has to be taken into consideration, as well the relative mix and the frequencies emphasized by the other instruments. A good engineer will craft an overall mix that makes all instruments heard and sound good, sometimes selectively filtering parts of one instrument's sound to make room for important parts of another. That's why band members should usually not participate in a mixing session unless they are quite experienced. They expect to hear themselves louder because they are closer to their own instrument than any other when they play. They also don't want part of their signal to be cut out, even though it is necessary to make it fit into the mix.

Sorry to ramble on about it. The short answer is, the louder you're playing, the less EQ compensation you need. When playing quietly at home by yourself, it'll probably sound good to do what you suggest: crank up the treble and bass, scoop the mids, and turn the presence up pretty high.

Thanks, Barrett