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 Table of Contents

GUITAR LESSONS FOR BEGINNERS

An Essential Beginner’s Guide to Using Best Techniques
and Ways of Playing and Using Guitar Chords and Notes

Introduction

SECTION I

Chapter 1: Selecting Your Guitar

Chapter 2: Guitar Brands

Chapter 3: Electric Acoustic Guitar

SECTION II: LEARNING THE NOTES

Chapter 4: Playing and Learning the Notes

Chapter 5: Understanding the Different Modes

Chapter 6: Methods to Hold Your Guitar

SECTION III: STARTING TO PLAY - CHORDS TO BEGIN

Chapter 7: Play Basic Chords

Chapter 8: Useful Strumming Patterns

Chapter 9: A Look at Plucking Patterns

Chapter 10: Song Genres for Guitar Music

SECTION IV: IMPORTANCE OF PRACTICE

Chapter 11: How to Practice

Chapter 12: Music Theory

Chapter 13: Some Other Scales for You to Play

Chapter 14: Keep Your Guitar in Tune

SECTION V: LEARNING THE PATTERNS

Chapter 15: Pattern for Major Chords on the Fretboard

Chapter 16: Playing the Notes of the C Major Scale

Chapter 17: Playing the Notes of the A Major Scale

Chapter 18: Playing the Notes of the G Major Scale

Chapter 19: Playing the Notes of the E Major Scale

Chapter 20: Playing the Notes of the D Major Scale

SECTION VI: MORE CHORDS AND PATTERNS

Chapter 21: Minor, Sixth, and Seventh Chords

Chapter 22: Learn Suspended Second and Nine Sus4 Chords

Conclusion

Bibliography

GUITAR LESSONS FOR BEGINNERS

Comprehensive Guide of Tips and Tricks of Playing
and Using Guitar Chords and Notes Effectively

Introduction

Part 1: Parts of a Guitar - Holding and Playing the Instrument

Study the Guitar Parts
Markings on the Neck
The Body of the Guitar
 Acoustic Guitar Extras
Electric Guitar Extras
Types of Pickups
Electric Bass Pickups
The Seven-Way Control
Holding and Playing the Guitar
Playing Notes - Music Theory
Play All the Natural Notes
The Descending Scale
Tuning the Guitar
Types of Tuners
Learn to Strum the Guitar
Second Step Rhythm Using Double Downstroke
Important Tips to Remember

Part 2: More Guitar Chords for Beginners

Popular Minor Chords
Learn the Seventh Chord
Learn Major Seventh Chords
The Minor Major Seventh Chord
Other Important Chords
The Major Chords
What are Power Chords?
A Seventh Chord You Haven't Learned Yet
Popular Chord Combinations
Learn Extended Chords
The 11th Chord Formula
Learning More Chord Progressions
First Common Pop Music Chord Progression
The Second Music Chord Progression
Tips to Learn Guitar Chords the Correct Way
 Reasons for Failure to Learn the Guitar
Playing the Scales - Learn the Musical Scales
Simplifying the Note Formula
For Beginners Learning the Modes

Part 3: Choosing a Guitar - Pick the Right Style of Play

Different Playing Styles for Guitar Music
Semi-Hollow Body Guitars
Solid-Body Rhythm and Lead Guitar
Top Acoustic Guitars
Types of Acoustic Guitars
Classical Guitars
The Best Acoustic Guitars
Choosing the Right Pick for Your Guitar

Conclusion

References

GUITAR LESSONS FOR BEGINNERS

Simple and Effective Strategies for Playing
Famous Guitar Songs and Optimizing Guitar Chords

Introduction

Chapter 1: Guitar Basics

Guitar Anatomy
Guitar Types
Strings
Guitar Pick Vs. Fingers
How to Tune
Handling Your Guitar
Chapter 2: All about Scales
What is a Scale?
The Difference Between Minor and Major Scales
Why Learn Scales
The Four Types of Triads
Scales, Triads, and Chords
The Functions of Chords within a Scale

Chapter 3: Major Chords

What are Major Chords?
The Seven Natural Major Chords
Accidental Major Chords
The Major Seventh

Chapter 4: Minor Chords

What are Minor Chords?
The Seven Natural Minor Chords
Accidental Minor Chords
The Minor Seventh Chord
The Difference Between Major and Minor Chords
Songs Using Minor Chords

Chapter 5: Barre Chords

How to Easily Play Barre Chords
Barre Chord Shapes
How to Extract Power Chords From Barre Chords
The Capo

Chapter 6: Strumming and Picking Patterns

Strumming Vs. Picking
Essential Strumming Patterns
Picking Shapes
 How to Become a Good Picker/Strummer
Guitar Pick Vs. Fingers…Again

Chapter 7: Advice for Beginners

The Practice Session
Improving Your Style
Additional Tools

Conclusion

References
 GUITAR
LESSONS
FOR BEGINNERS

An Essential Beginner’s Guide to Using Best

Techniques and Ways of Playing and Using
Guitar Chords and Notes
 Introduction

Here we present you with the book, "Guitar Lessons for Beginners" to help
you understand and use different concepts in the mystical yet enchanting
world of music. True, the guitar is the easiest of instruments to play, and by
buying and learning to play the guitar, you gain complete mastery over your
domain of music.
Music is an arrangement of sounds and silences. There are notes, and one
must use gaps of silence to play the music. This is why it is so wonderful.
There is an arrangement, and learning about it will help you exploit this art
form and create your own magic.
Play music in your home and at get-togethers. Revel in the fun and laughter
of your loved ones as they sing with you. It is the best thing to bring out
when you have a party going or want to relax. The guitar is easy to carry
around, and there is no end to what one may play using this versatile
instrument.
Pick up your guitar and unravel the mystical world of scales using chords and
riffs. The world is a better place for music, so let it flow.
Begin your journey into the musical world today. Start learning, and you will
soon be the master of the guitar.
 SECTION I

The guitar is a stringed instrument handed down to us from ancient times. It

must have existed even while our ancestors were settling down from their
nomadic life to become tillers of the land. But, we cannot trace its origins
further back than the 15th century to Spain. The earliest precursor is Guitarra
Latina that, like our modern-day instrument, has a narrow waist and
curvaceous body.
So, we can assume the culture of singing and dancing to the accompaniment
of a guitar has shaped the lives of men for centuries. The earliest version had
four courses of strings, of which the top one was single. The others were
double and ran to the bridge that harnessed them. Strings remained tuned to
C-F-A-D, but by the late 18th century, this arrangement gave way to the more
popular six-stringed version we see today; the tuning has become E-A-D-G-
B-E. The box has become shallower, the waist broader, and a wider range of
materials and shapes have come into use to fashion this wonderful
instrument.
 Chapter 1

Selecting Your Guitar

The exuberance of playing a new musical instrument can dissipate in a

moment through a series of mismanaged steps. One common mistake many
make is to assume that they can start on an acoustic guitar and then move
over to the electric guitar and things like that. You must start with the type of
guitar you need; the choice is not extensive either.
Pick the acoustic guitar if you like melodious songs, soft singing, and country
music types of songs. Your idol is John Denver, Loretta Lynn, Johnny Cash,
Taylor Swift, or Kenny Rogers. You might dislike loud, blaring music
associated with punk and metal rock songs. But, if you do, that is you like
fast tempo and like to play power chords, then picking the electric guitar is on
the cards.
Your ideal band is The Beatles, Led Zeppelin, AC/DC, and Chuck Berry.
Loud noise is what you aim to make, then pick the electric guitar, and you
needn't fool around with the acoustic guitar. It will help save you from
making fresh purchases. The third option is the classical guitar with nylon
strings. Nylon strings? Is that right? How do we get any sound from this
instrument?
Well, flamenco guitars have nylon strings. It makes it easy to play songs and
strum. Also, children find it easier to play guitar with nylon strings. Again, be
wary about having to buy again. We have many classical music guitar players
like John Williams, Julian Bream, and Craig Ogden, who play with pinpoint
accuracy. Listen to them and decide whether to become a Classical music
player or not before you visit the guitar store near you.

Buying Your Guitar

To buy the guitar, you must go to a regular brick-and-mortar store and buy it.
Ordering online is possible, and many people do it. But, you must get a feel
for the guitar and check for defects before you buy the guitar. Also, take a
friend along with you who knows how to play chords (at the very least) to
help you make the decision. Other than checking for mistakes, you must
develop a liking for the sound your guitar makes.
To do this, you have to play the instrument inside the shop (all guitar shops
will have this facility). Most of the salesmen will help you play the guitar, but
it helps when your friend is there with you to help you. They will have
amplifiers for electric guitars, so you can get the true feeling of how your
instrument sounds.
Take the guitar in your hand and play a note or two, even if you do not know
anything. If you get good vibes and you like the sound, then you are on the
right track. So, let us check the mistakes that you might make.

Mistakes to Avoid When You Buy Your Guitar

1. Buying the wrong size - You may want a guitar for a child, and
you think that getting a small guitar will help. There are half-size
and ¾ size guitars. They sound like the original guitar, but they
feel a whole lot different. You can get used to playing on them,
and this is a mistake. The feeling will remain with you
throughout your guitar playing career, and you will never adapt
to anything else.

Buy a regular size guitar, buy the one you want to play all your life. Don't let
anyone convince you otherwise. Also, they say a child cannot handle the
weight of an electric guitar. The solid-body electric guitar weighs more,
about 5-6 kg, and children might find it difficult to lift and wield it. You can
decide by a real-time assessment. If the child is tall enough or has the
framework to handle the weight, then buy him or her the electric guitar.
You might have to wait a year or two until they grow up. Yet, that will help
you avoid making duplicate purchases. The child will grow on the feel that
will not change as he grows up. The electric guitar is smaller than the
Classical or Acoustic guitar but is much heavier. The steel strings of this
guitar might be tough to play for a child. If you are a grownup, then this
shouldn't be a problem.
2. Check the string action - This is important because if the strings
are too far from the fretboard, it will be impossible to play. Press
 the strings onto the fretboard near the hole. Anywhere near the
twelfth or thirteenth fret should do. If you are not able to play the
notes well at this spot, then the strings are too far up, buy another
guitar. You don't want to weep later; keep this always in mind.

Having an accomplished guitar player with you will help here. He will be
able to tell you whether the guitar feels right when you play the high notes.
The same holds for the Acoustic and Classical guitar. The strings must not be
too far away from the fretboard. You can make a visual inspection to
determine how close the strings are.
3. A guitar with bad machine heads - Machine heads help you
adjust the pitch of your strings. You can turn these knobs to
increase or decrease the tension; you have six of them on the
headstock of the guitar. When the machine heads slip, they will
not keep tension. So, your guitar will keep slipping out of tune
very often. Also, at times, it might be impossible to turn the
machine heads.

So, check for this aspect, turn it around a couple of times in both ways to see
that the machine heads function well.
4. Going for a brand - This might become a mistake because
choosing a brand doesn't ensure quality. Sure, it ensures features
and good material choice, but you have to do hands-on testing to
make sure you have a good product. This doesn't mean that you
avoid buying branded products, you must choose a good brand
all right, but only make sure you are not buying spurious goods
and that the merchandise is good.

The normal procedure of plumping for a brand helps you avoid valuable
shopping time and effort.
5. Buy an expensive guitar - Many brands offer features that are
unnecessary, such as the micro tilt feature in Fender USA. This
is a disconnect facility between the neck and the body of the
guitar, unwanted for the most part.

You might have to pay huge sums for small things that you can do well
without. Again, the advice of a seasoned guitarist will prove invaluable.
When you can avoid petty errors, you can avoid omnishambles. Get rid of
otiose interventions and remain a master in your right for you know what you
want and how to get it. Next, we see what the different brands of guitars are
available and how the wood affects the quality of the sound they make.
 Chapter 2

Guitar Brands

Acoustic Guitars
Among the sumptuous offerings by way of types of guitars, the popular
choice among the assemblage is the Acoustic guitar. With harmonious
vibrations resounding from its capacious box, it is a definite crowd-pleaser. It
fills the room with its melodic sound, subtle yet undeniable stirring to
captivate young, eager minds and give them something new to wonder about.
Yes, the acoustic guitar delivers volume with good intent and a solid
measure, and it is all due to the quality of the wood.
They come with nylon or phosphor bronze wound strings. Since they do not
use any external amplification, the box has to do the job to improve the sound
output. It takes up the vibrations of the strings and amplifies them. This
amplification is a property of the wood we choose to make the box, the
fretboard, the neck, the front, and the back of the guitar. You do not have this
problem with an electric guitar because they make it out of solid wood. The
amplification, in this case, gets done with an electric amplifier.
The wood used for making the guitar is hard with good tonal sustainability
qualities. Woods chosen for the neck must not only have hardness, but it must
also have the capacity to transfer the vibrations of the strings to the body.
Acoustic guitars sound better as they age, choosing good quality wood is an
important criterion in this regard. Here is a look at the different woods
available for making guitars.

Choice of Woods
Guitars need high-quality wood, and they source this from different corners
of the globe. A luthier has skills in the art of making guitars. A guitar gets
made into bass, tenor, alto, or classical tuning.
The choice of wood ranges around Mahogany, Walnut, Agathis, Ash, Holly,
Poplar, Basswood, Walnut, Maple, Alder, and Spruce to make the neck and
body of the guitar. When we need to include an exotic tone, we choose
woods such as Korina, Rosewood, Wenge, Padouk, Lacewood, Bubinga,
Koa, Redwood, and Zebrawood. Any wood can produce an acceptable tone,
so the skill in making the guitar plays an important hand. The beauty of the
instrument remains influenced by the wood grain and patterns.
Most of the other parts of the guitar, such as the bridge, tuners, and frets are
metal, plastic, or bone. Other materials used to make guitars include carbon
fiber and aircraft-grade aluminum. They are light and very strong, lending
themselves to getting welded and molded with ease. Xtreme Guitar and
Normandy Guitar manufacturers use aircraft-metal. Rainsong makers craft
their instruments out of carbon fiber.

The Best Acoustic Guitars

Taylor Academy 12e - Made to the strict Taylor design brief, this instrument
is good for beginners. It has an ergonomic armrest with a 24.87-inch scale
length. The top is mahogany with a Sapele laminate on the sides and back. It
is durable and comfortable to play. The fretboard on the neck is genuine
African ebony and has 20 frets. It is lightweight and has good craftsmanship.
It is an entry-level guitar, so if you don't want to spend too much on your
instrument at the start, this guitar will be an ideal choice.
Fender FA-100 Dreadnought Acoustic Guitar - The dreadnought is about
the largest bodies present in guitar models. This is helpful because the frets
and strings spacing is wider, making it easier to play. Beginners will find this
useful. Everything such as pick, strap, tuner, and the case remains included
with this guitar. The bridge is a beautiful rosewood. The deep, vibrant sound
is most pleasant at a cozy get together. If you love good sound, go for this
guitar.
Blueridge BD-16 - Made by Bristol, this model is an entry-level guitar with
the excellent build quality. It has a good acoustical balance. The shortcoming
of this is that it has a laminate top that doesn't sound as good as wood.
Standard spruce is the tonewood for the top while the sides and back are
mahogany. This combination of soft and hardwood produces an interesting
tone. The neck is mahogany, and its profile is fast. The fretboard is rosewood.
In all, it is a pretty solid guitar with an interesting tone; it is worth checking
out.
Epiphone DR-100 Acoustic Guitar - The "vintage sunburst" design of
Epiphone DR-100 gives it a very professional look. It comes with a tightened
headstock at a 14-degree angle, which helps beginners with their chord
transitions. It has a bold sound with easy transitioning due to the unique
headstock design. Mahogany is the choice of wood because it is hard and
durable. Also, it has an affordable price. Specially made for beginners, this is
a solid guitar with a good look.
Yamaha APX600 - This model comes with the typical Yamaha design and
cutaway to help make guitar playing easy. The scale length is a little less at
25 inches, but this makes it easier to carry around. The material used is three-
ply nato with a spruce top. The neck is also nato with a satin finish. The
rosewood fretboard features 22 frets, and the cutaway helps beginners. The
appearance is good due to the genuine rosette for the abalone soundhole. If
you like a pretty guitar for beginners, this should figure in your list.
Fender Tim Armstrong Hellcat - Tim Armstrong is a songwriter and
producer, and Fender supports this punk rock artist with the Hellcat. It has a
smaller concert guitar body and has a scale length of 25.3 inches. Compared
to the dreadnought, this is comfortable to hold. The wood is dark grained
mahogany on the back and sides. The wood on top is solid. Under the hood, it
has scalloped X bracing that gives it rigidity. Being electro-acoustic, it comes
with Isys III onboard preamp, EQ controls, and a built-in digital tuner.
Though it has a smaller build, the bracing provides the resonance, so the
acoustic output is good. If you plan to play punk rock, this is the guitar for
you.
Yamaha FGX80C Solid Top Folk Acoustic-Electric Guitar - One cannot
expect a beginner acoustic guitar to remain inexpensive and hookup with an
amp. But, the Yamaha FGX800C does it in style. The sound is smooth, and it
comes with a digital tuner and soft cleaning cloth. You also get strings, a hard
case, straps, and more. For a normal case, you will pay about $100 for these
extras. The best thing about this instrument is that you can play it plugged or
unplugged. The natural wood appearance makes it look vintage. And, the
simple controls help the beginner play the electric version without hassles.
This guitar eliminates the need for an amplifier, so it helps beginners get into
the groove right away.
Seagull S6 Original - Advanced tone and beautiful craftsmanship are evident
in this flagship model from Seagull. Being of solid wood without
adornments, it retains the classic look of a dreadnought. Its scale length is
24.84 inches with a top of pressure-tested cedar from Canada; the sides and
back are wild cherry. It is well made, giving it a robust feeling. The neck is
silver leaf maple, and the fretboard is rosewood with 21 frets. It has a sleek
matte finish. You can get an electro-acoustic version if you pay a little more.
The simple and understated style of the acoustic version has a wonderful,
warm tone even with the cedar top. Due to the dreadnought body, the sound
lingers, clear, and true. This is a good guitar for beginners, and if needed, you
can buy the electro-acoustic version.
Maestro - Crafted by Gibson, this guitar has a dreadnought body that gives a
vibrant tone with high volume. Professionals choose dreadnoughts for the
ease with which they can play it. The superior tone of the kauri and spruce
wood lend a touch of the exotic to this guitar. The tone of kauri is louder and
more harmonious, and the guitar sits well in your lap. The laminated spruce
adds to the strength of the guitar. If you buy the full kit, you get straps, picks,
and strings with the guitar. Buying them together reduces the cost. The guitar
is without frills, which is what every beginner needs to get started.
Fender CC-60SCE - Pick a wonderful electro-acoustic guitar with a concert-
sized body if you look for something smaller than a dreadnought. The Fender
CC-60SCE is affordable, and the guitar has easy-playing acoustics well
suited for beginners. It comes with a solid spruce top, something one looks
for in every acoustic guitar. This is because this wood helps in the production
of bright and clear harmonic vibration that adds quality to the sound of the
guitar. The neck, back, and sides are mahogany while the fretboard is
rosewood with 21 frets.
The shape is the easy-to-play Fender shape, a compromise between the
thinner, faster ones, and the bigger, louder guitars. The fretboard is a standard
12 inches with slightly rolled edges to improve playability. The cutaway
gives you access right to the end of the neck. The onboard Fishman preamp
and piezo pickups allow the user to plug in and begin to use the electric
guitar. It has an included tuner and equalization controls, so you always have
control over the sound of your guitar. This is a wonderful option for
beginners by way of low cost and the choice of an electro-acoustic guitar.

Electric Guitars
You will not go wrong if you start by comparing the key features of the top
models. Picking an electric guitar can become downright confusing if you
don't know what you are looking for. It depends on what kind of songs you
want to play and what the sound must be for your performance. The top
electric guitars are these:
1. Telecaster - Fender.
2. Oscar Schmidt OE20.
3. Stratocaster - Fender.
4. Les Paul - Gibson.
5. Epiphone SG.
6. Yamaha Pacifica.
7. Ibanez GART60.
8. Gretsch Electromatic.
9. Fender Squier.
10. Jackson JS32T.

Fender Modern Player Telecaster

They began making Telecasters in the 1950s and have had constant upgrades
that have added to their versatility and style. The timeless single-cutaway
with Honey Burst and Charcoal Transparent finishes show the wood grain
and adds to the appeal. The maple neck is one piece bolted onto the body of
the Fender in a snug C shape with a gloss finish. The 22 jumbo frets lend
themselves to a comfortable string bend, and the iconic Telecaster headstock
completes its groovy look. Though they make it in the Fender factory in
China, the finish and fit are admirable.
Of the three pickups, the neck has the traditional Fender single-coil pickup.
We see the Stratocaster single-coil pickup in the middle with the humbucker
when we come to the bridge. We have a mini-toggle that splits the
humbucker control along with a five-way selector switch. The assembly
remains wedged between master tone knobs and master volume controls.
The chrome tuners on the headstock are pretty standard with the body being
vintage style, strung through with a synthetic bone nut. This gives the guitar
good tuning stability with sustainment. The huge thing about this guitar is the
presence of three pickups and the coil-splitting control for the humbucker.
The traditional twang of the Telecaster comes from the Telecaster single-coil,
but many users feel that there is not enough power. The middle Strat gives a
better bite and pickup while the humbucker takes off to another dimension.
On the short side, Telecaster purists would find it lacking. But, in the long
one, this is very affordable. It looks great, and the playability is fantastic.
Even if you are only a beginner, this guitar will make a good investment
because you will use it for a long time.

Oscar Schmidt OE20

When looking for an affordable alternative to Les Pauls, many beginners will
choose Epiphone. Oscar Schmidt is there for those who want a Les Pauls that
is affordable. The OE20 retains the classic Les Pauls design with a solid
single-cutaway body and 24.75 inches in scale length. The mahogany body
has a raised pickguard and several types of finishes, including luxurious gold,
glossy black, and Purple Burst with a flamed maple top. The maple body is
not bolted on as we see in cheaper models but is set into the body. There are
22 frets with rosewood fretboards and trapezoid block inlays.
The two unbranded block-humbuckers have their separate tone and volume
controls, which is a big plus. You also have a three-way toggle pickup
selector switch. The simple chrome die-cast tuners remain sealed and easy to
use. The Tune-o-Matic design has a tail bar to add to the sustain. While many
remain impressed by the simplicity of the design, others praise the clear tone
and crisp articulation. You can use this guitar for anything from country to
rock music with impunity.
One of the most affordable guitars available, the OE20, is well worth it if you
look for a solid, dependable electric guitar. It looks good, and its playability
has impressed experienced users.

Squier Classic Vibe Stratocaster 50s

Among the huge selections of Stratocasters released by Fender over the ages,
Squier Classic Vibe is one that fits in with the style of the 1950s. The double-
cutaway Strat body is 25.5 inches in scale length with a solid alder body and
a neatly tailored maple neck. Lightweight and comfortable, it comes in two
finishes, Sherwood Green Metallic and 2-Color Sunburst.
The comfortable C shape makes it highly playable. It has 21 medium jumbo
frets on its maple fretboard. The finish is a vintage tint gloss. A smooth hand
feel makes for wonderful handling. The hardware includes three classic
pickups from Strat, and all are vintage single-coil Alnico III. You see pretty
standard controls - master volume control, individual tone controls for middle
and neck positions, all done in aged white plastic to add to the vintage appeal.
There is a five-way selector switch.
As expected, the six-saddle bridge synchronized tremolo has a vintage style.
This guitar is very suitable for surf rock, blues, and Jimi Hendrix style of
lengthy sustain lead play. The single coils behave well, but they do not
deliver a true vintage tone. But crank up the gain, and it delivers great output
for lead and rhythm play in classic rock music.
For beginners looking for the comfort of play and value for money, the
Classic Vibe guitar comes well-recommended. Though the price is low, the
tone and delivery are much above what one would expect in this price range.

Gibson Les Paul Tribute

Available with four finishes, the single-cutaway Tribute has a rounded maple
neck profile. The ultra-modern weight relief makes it comfortable to play.
The body is Mahogany, while the top is Maple. The scale length is 24.75
inches, the fretboard radius is a standard 12 inches, and there are 22 frets.
The controls include 2 volume and 2 tonal knobs along with a toggle switch.
The neck pickup is 490R, and the bridge pickup is 490T. Gibson has Vintage
Deluxe Keystone Button tuners and an aluminum tail bar in the tailpiece. The
bridge is an aluminum Nashville Tune O'Matic.
This guitar is a bit costly for a beginner, but it has solid value. Users will
have a glorious experience playing on this classic piece.

Epiphone Les Paul Standard

An excellent alternative to the original Gibson Les Paul, the Epiphone Les
Paul Standard, has reasonable pricing and shows a good performance. It has
the iconic guitar body of Les Paul (the other is Fender) and a standard maple
neck. The fretboard is a good quality rosewood.
As with all Les Pauls, the Alnico humbuckers produce superior tonal quality.
The pair have classic controls, two-tone and two volume knobs, along with
the usual pickup selector switch. The knobs perform well, and the feel is
solid. The sturdy Tune-o-Matic bridge has six adjustable saddles that match
the good quality die-cast tuners on the headstock.
The sound is superb; it can handle distortion and overdrive with ease. It is
what you will need for your metal or blues play. It is not cheap and if you can
afford it, go in for this guitar. It will help beginners get into the right learning
groove and improve their skills.

Yamaha Pacifica
Having many useful features for beginners, Yamaha Pacifica 112V has a
shape like the Strat along with a unique double cutaway. The tonewood is
Alder, and it is available in Sonic Blue, and Red Raspberry finishes. With a
bolt-on neck made of maple, it has a scale length of 25.5 inches. The
fretboard of Rosewood has 22 frets. With its satin finish, it has a sleek feel.
Two single-coils at the middle and neck positions, along with a humbucker at
the bridge, replace the three coils that one expects to find. A wide tonal range
becomes possible because of the good quality of the humbucker. The pickups
remain wired to a single volume and tone knobs alongside a pickup selector
switch. We see a tremolo designed bridge with six adjustable saddles. Many
users feel that the quality of the bridge is a little too much for an entry-level
guitar because it might interfere with the intonation. But, there is no need to
worry because the quality of the bridge provided by Yamaha is above par.
Among the various guitars in this bracket, the sound of the Yamaha Pacifica
is good with a lot of punch. The humbucker has enough capacity to deal with
the distortions from the gain. You can even muddy the tone using the neck
and middle pickups and even put a little overdrive on top.
Though this guitar may not be the best in the world, it is flexible and reliable,
and so it gives the user a lot of fun to play. It is worth the little extra money
you need to put in to get it.

Ibanez GART60
One can understand the importance of the pickup (PU) selector when one
wants to play an impressive lead in a rock song. Switching the PU to the
greatest distortion will interfere with the notes, and this is why Ibanez
GART60 helps the user with the 3-way PU selector. It proves that the guitar
doesn't have to cost a bundle to sound fabulous. And, they look fantastic
because of the attention to detail from Ibanez.
The body is poplar, and the fretboard is rosewood. The frets are medium, and
the neck is bolt-on maple. Chrome tuners add to the glitter. As for the
pickups, you have two pickups, each on the neck and the bridge. The three-
way selector switch allows you control over the neck alone, the bridge alone,
or all the pickups at once for the greatest distortion. The high-octane output
from the pickups helps rock music enthusiasts find the right tone for their
song with ease.
If you are looking for a great, affordable rock guitar, Ibanez is your choice. It
has a massive tone due to its arched body along with a rich sustain. Beginners
with a yen for playing rock will find this guitar a useful investment.
 Chapter 3

Electric Acoustic Guitar

The electric acoustic guitar has the advantage of allowing you to practice
leads in real-time. The lead that sounds so inept without amplification will
sound perfect on your electric acoustic guitar. Budget is a criterion for many,
and so this list caters to a huge range to suit both the budget buyers and those
who want to splurge on their new instrument. Here we see the list of the top
electric acoustic guitars and the detailed description of some of those in the
list.
1. Takamine EF341SC
2. Yamaha FSX720SC BL Acoustic-Electric Guitar
3. Martin Road Series DRS1
4. Fender 6 String T-Bucket 300-CE Acoustic Guitar
5. Taylor 114E Grand Auditorium
6. Yamaha APXT2 3/4-Size Acoustic-Electric Guitar with Gig Bag
7. Epiphone Hummingbird PRO Acoustic/Electric Guitar
8. Epiphone Hummingbird Pro Solid Top Acoustic/Electric Guitar
9. Stagg SA20ACE NAT Auditorium Cutaway Electro-Acoustic
Guitar
10. Ibanez Performance PF15

Takamine EF341SC
Takamine's shiny black finish to this guitar and the proprietary electronics
helps world-class entertainers produce scintillating music. One reason why
this sounds so good is the solid cedar top that balances the high notes and low
notes in the right proportion. Its strength and durability remain enhanced by
the solid mahogany neck, and it has sides and back of maple to complement
the top. The rosewood fingerboard produces perfect notes right through.
With a single-cutaway dreadnought body, Takamine EF341SC has powerful
tonality and top-of-the-shelf electronics. You have good access to the high
notes thanks to the cutaway body. Its CT4B II preamp with 3-band equalizer
and the onboard tuner helps users produce the best possible music. One may
calibrate the frequency well and pick the right frequencies using the under-
the-saddle Palathletic design. The tuners are chrome. It comes in a hardshell
case.
The Takamine produces true notes due to the perfect craftsmanship and the
use of superior material in the design of this wonderful instrument. This
elegant guitar is worth investing in if you have the money.

Yamaha FSX720SC BL Acoustic-Electric Guitar

For quality sound at an affordable price, you need to see Yamaha FS720SC
BL acoustic-electric guitar. This is a single-cutaway, full-size dreadnought
especially suited for beginners. It has a nato back and a spruce top and comes
without a hard case, but you can get that alone. It has precision diecast
chrome tuners and a rosewood fretboard, a natural finish with a large
pickguard. You can play it as an acoustic guitar or plug it in and play like an
electric guitar.
It comes with a preamp that has a 3-band EQ with volume and tone controls
for the instrument. It has a rosewood bridge and fretboard while the back,
sides, and neck are nato. The pickup is under-saddle System 53 piezo while
the preamp is System 55t. The top is solid spruce. The scale length is 25
inches, and the tuners are diecast chrome. The fretboard is a little rough and
may cause damage to the strings.
The best thing about this guitar is its low weight making it ideal for taking
with you on a trip. The price is low, and the sound is rich, being a full-size
dreadnought.

Martin Road Series DRS1

Get to hear the legendary Martin tone with this solid wooden beauty. Road
Series DRS1 is an electro-acoustic D-14 fret type body guitar. It has an A-
frame bracing with Sapele back, top, and sides. The neck profile is low-oval,
and the scale length is 25.4 inches. The satin finish gives the instrument a
spectacular sheen. This robust dreadnought has a mahogany-like warm tone
and commendable volume, and that is why the old-timers love it.
With a Black Richlite 20-fret fingerboard, this non-cutaway guitar has a satin
finish, white bridge and end pins with black dots. The pickguard is black, and
the soundhole has a single-ring rosette. It also features an under-saddle
Fishman Sonitone pickup. Select Hardwood goes into the making of its neck.
The preamp is soundhole mounted without preamp EQ, feedback filter, or
tuner. The Indian Rosewood headstock has chrome enclosed tuning machines
with white Corian compensated saddle and nut. The resistant tuning machines
keep the instrument in tune all the time.
The Martin Road Series has a robust build, though it lacks too many frills in
the looks department. If you want a good, harmonious sound and do not look
for any grand electronics, then you will do well to invest in the Martin Road
Series.

Fender 6 String T-Bucket 300-CE Acoustic Guitar

New, upgraded features of the new T-Bucket 300-CE include a fantastic
holographic rosette inlay along with a new 'F' 12-fret logo inlay design and a
top option of ash quilt. The classic cutaway helps users access the top notes
of a string on this dreadnought embellished with Hot Rod design acoustics.
Hot Rod Vince Ray is a musician and designer who has influenced the world
with his stunning tattoo designs, record covers, t-shirts, and posters.
Fender offers a choice of six finishes. You can choose your instrument with
body top in Flame Maple, Quilt Ash, or Quilt Maple. Each of these comes
with two variants - Sunburst and Transparent Black in Flame Maple,
Transparent Dark Brown and Transparent Violet in Quilt Maple, and Amber
and Transparent Blue in Quilt Maple. It has many body bindings, and the
soundhole has a T-Bucket Pinstriped Holographic Rosette. It has a
Quartersawn Scalloped X bracing. The neck is a C-shaped Mahogany with
back and sides of laminated Mahogany. The fingerboard is Rosewood with
an 11.81-inch radius. It has 20 frets and a scale length of 25.3 inches. The
tuning machines are chrome, while the bridge pins are black with white dots.
It comes with a built-in tuner with an on-off switch, volume and tone controls
for Bass, Mid, and Treble. The string nut is Graph Tech NuBone. The
Fishman Isys III system helps deliver the sound along with an active onboard
tuner and preamp.
Tuning becomes a dream as users may push the button and get their
instrument tuned. The polyurethane finish gives a polished appearance, which
is inspiring. Beginners will find this an irresistible option because of the price
and good, rich sound delivery.

Taylor 114E Grand Auditorium

The Taylor series now has 114E, a real-wood instrument at a great price. The
Grand Auditorium has the original Taylor shape and balanced sound across
the entire acoustical range. With the back and sides of the layered Sapele and
the top of the Sitka Spruce, this instrument yields ample volume and comes
with a nylon gig bag. It has the standard Taylor II bracing and comes with a
matte finish.
The neck is Sapele, and the scale length is 25.5 inches. The African ebony
fingerboard has 20 frets with a fretboard radius of 15 inches. Its Indian
Rosewood headstock overlay adds to the charm. Chrome-plated die-cast
tuning machines remain enclosed, adding to the aesthetic appeal. Add the
booming sound of the bass frequencies, and you have something irresistible
here. You have a truss rod for adjusting the neck if it is out of alignment. It
has forward shifted pattern Standard II bracing. It has a varnish finish with a
natural color.
The Taylor Expression 2 system operates on a 9 V battery with volume and
tone controls for treble and bass. It has three uniquely calibrated pickups that
are behind the saddle. The pickup comes in complete contact with the bridge,
so it picks the true tones of the guitar. We see this dynamic range of sounds,
whether we use the amplifier or not.
The unmatched build quality from Taylor makes this the instrument
beginners would love to have. It has a very stable and playable neck and
offers a wide range of tone options. It is not a cutaway, but beginners will not
have to worry much about this.

Electric Bass Guitar

An electric bass guitar performs two primary functions. It provides the
rhythmic foundation for the song, and it adds to the harmony. We get a
steady pulse in harmonic alignment with the chord run and melody. Bassists
must play accurate notes as this is the backbone of any song. Learning the
different rhythmic patterns helps him to provide the basic pulse for the song.
In any song, we hear many notes at one time. We hear them relative to the
lowest note that is the bass note from the bass guitar. The electric bass guitar
glues together the three building blocks of music - harmony, melody, and
rhythm. It takes skill and a great deal of dedication to play the bass for a song
in any genre. That said, let us see which the best bass guitars are so you can
pick the one that suits your pocket and style.
1. Fender Standard Fretless
2. Dingwall NG3/5 Bass
3. Ibanez Talman TMB100.
4. ESP LTD F-104
5. G&L Tribute L2000
6. Ibanez AEB5E
7. Ibanez SRH500-DEF Bass Workshop
8. Rogue LX200B
9. Fender Mustang PJ
10. Fender Geddy Lee Signature Jazz bass

Fender Standard Fretless.

Fender, with its proven quality, also continues to rule the roost in the bass
guitar section. This four-string fretless guitar has a solid maple fast-action
neck with a rosewood fingerboard. Many people use fretless instruments
because it allows a greater range of notes and the tone is warmer, though not
necessarily louder. It is difficult to learn on this instrument, though, because
of the lack of clear demarcations of the individual notes. The tonal range
increases by two single-coil pickups. They are standard jazz bass coils with a
nice, deep output.
The control knobs are vintage in style, giving the guitar a clean look. Due to
the absence of frets, users can explore notes that are between notes without
having to resort to bending. The sound from this guitar is fluid and warm, but
there are plenty of difficulties finding the right notes. Fretless guitars are
difficult to find because they have limited following. While learning, you can
get a luthier to make markings where the frets will occur so you can figure
out the notes with ease.
This is easily the best bass ever made tone-wise. To top it off, it has fabulous
looks, and so you will feel special on-stage with this guitar. It does cost a
little more, so go for it only if you have deep pockets and you want
something special.

Dingwall NG3/5 Bass.

This Chinese-made guitar with five strings offers many tonal options.
Powerful electronics combined with good design allow it to produce high-
quality, low bass notes effortlessly. The neck is a 3-piece laminate maple, and
the neck joint is 4-joint bolt-on attachment. The fingerboard of maple has 24
frets. The pickups are Dingwall FD-3N Neodymium with controls for
volume, bass, active/passive switch, hi-mid, low-mid, and pickup selector.
The 3-band EQ is Active Darkglass Tone Capsule.
The smoked chrome tuning machines, along with the open-gear machine
heads, add to the allure of the guitar. It has a Moca Purple gloss finish while
the scale length is 34-37 inches. The body is Alder, while the fingerboard
with 24 frets is Maple.
The cost is at the higher end of the scale, but if you're looking for quality, this
should not be a concern. It is a sleek instrument with good playability and
groovy looks.

Ibanez Talman TMB100

For those beginners looking for a cheap option in the electric bass guitars, the
Ibanez Talman TMB100 shows us the way to go. Being cheap, one may think
that there is a compromise in quality, but this is not the case. The guitar is of
good quality and has a gorgeous look. The mahogany body sports a double
cutaway and a wide range of color choices. You can get the instrument in
Soda Blue, Mint Green, or Coral Red with the characteristic tortoiseshell
pickguard.
A 34-inch neck full-size bolt-on made of maple sand gives a fast feel with a
comfortable profile. The Rosewood fretboard with 22 medium frets shows a
remarkable finish and fit. There tends to be some fret buzz that needs
correcting, but it is a minor problem. On the electronics side, it has two
pickups, Dynamix J at the bridge and Dynamic P at the neck. It has two
control knobs, one each for volume and tone. The 2+2 chrome tuners give it a
sporty look. The sound is entirely ethereal; one could not hope for more.
The controls are simple, and the cost is low. This could be the reason to
invest in this guitar. The tone is heavy-hitting and punchy, so it will fit in
with rock and punk as easily as with jazz and blues. It is better than many of
the other models available in the market. You can buy it for its superb tone
and comfort of playing.

ESP LTD F-104

With amazing looks that reflect the stage lights perfectly, ESP LTD F-104
has a unique body shape that seems to suggest sinister things. Bass players
have an attraction for the strong vibes from the guitars, and the F-104 has
intriguing looks. While it is not a popular choice of material, the basswood
used for this guitar seems to amplify the notes well. Its neck is bolt-on maple
wood with a thin-U profile. As for the choice of color, it is available only in
black.
The bridge and saddle have a conventional touch. The bridge is a classic
fixed type, and saddles are four in number and fully adjustable. On the
headstock, we have diecast tuning machines, and they work well. Contrary to
expectations, ESP LTD F-104 comes with a set of SB-4 passive humbuckers,
whereas one would have thought they would see active humbuckers. The SB-
4s have plastic covers and remain wired to the standard Tone/Volume combo
along with a potent two-band EQ.
We get an impressive sound from F-104, which is rather good for the
tonewood and price range. Part of the credit goes to the two-band EQ that
combines well with the passive pickups. So, it is easy to play both heavy
metal and blues with ease. There is no refinement at the extreme end, but that
is understandable.
You have a pretty nifty guitar with a good range of sounds. The price is a
little heavy for a beginner, but considering it is one of the better bass guitars,
one could invest in it.

G&L Tribute L2000

Leo Fender launched this guitar in the 1980s through his newly launched
G&L Company. Having lots of room for creativity in his new company, he
explored new implementations and designs of which the Tribute L2000 is
one. Having a standard J-bass shape, the L2000 has a body of Ash but doesn't
have the pickguard or finish. A hard rock maple piece neck with a standard
medium C profile.
The choice of colors includes natural gloss over swamp ash, 3-tone Sunburst
over Swamp Ash, and Olympic White over Basswood. All three have clear
satin neck finishes. The fingerboard is maple for the first (natural gloss) and
Brazilian Cherry for the other two. A finely designed Saddle-Lock Bridge by
Leo brings out the tones in brilliant fashion. The open back tuning machines
add a touch of glamour along with giving the guitar loads of sustainment and
fantastic intonation.
When Leo chose the electronics for this machine, it was with something more
than the ordinary one he had in mind. So, he chose the set of MFD
humbuckers and wired them to a Tri-Tone circuit where the user has the
freedom to choose the pickups. The two-band EQ works well with this
combination.
This guitar produces a sound that has precision and clarity, two things vital
for quality performance. While it doesn't have flashy looks, the price itself is
very attractive, and it gives an unmatched performance. Beginners looking
for a mid-range bass should invest in this model.
 SECTION II
LEARNING THE NOTES
 Chapter 4

Playing and Learning the Notes

Guitar playing is so well-loved the world over. Use a guitar to play chords for
a song or play a few notes to develop a unique riff. When you start learning
to play, all the notes appear the same. The C on the second string is the same
as the open string note on the G string. To become an expert, one must
practice playing the notes. You can remember the notes on the fretboard
using a simple technique.

The Technique to Remember the Notes

Though you will eventually learn the notes on the fretboard, using a method
to remember will help. Remember the notes on the bottom two strings, the
fifth and sixth strings. These are the thickest strings on your guitar and
nearest to your face as you look down.
You have markings on the fretboard for fret numbers 3, 5, 7, 9, 12 (double
dot to show octave), 15, 17, 19, 21. Learn the notes on these frets first.
The third fret note on the sixth string is G. On fret 5, you have A, on 7, it will
be B, and the ninth will be C#. The twelfth fret is E. The fifteenth,
seventeenth, nineteenth, and twenty-first frets are G, A, B, and C#, which is a
repeat of the same notes. This is because the notes repeat after twelve frets.
So, you need to remember only one pattern G A B C#. Join the open string
note, and you have E G A B C#.
In the same way, we write the notes of the fifth string. The notes
corresponding to the markings on the fingerboard are C, D, E, and F#. Join
the open string note A, and you have A C D E F#.

Check for Yourself

Take any note on the sixth string, say you take the 9th fret F#. Go up two
frets 10 -11 and then move two strings up. This will be the fourth string. The
eleventh fret on the fourth string is F#!
You will see that when you play on the third and fourth strings, you have to
move up three frets instead of two and then go up two strings to get the
octave note. We call this the octave note because it covers the entire scale of
the root note. When you practice daily and try to assign random notes and
find out what they are, you will become an expert. You will be able to recite
all the notes on the fretboard by remembering a mere 8 notes.
Learn to Play the Notes
We have seen this before, and here we will do the elementary exercises to
learn the notes. Here is the tab for some more guitar notes practice exercises,
and though it may seem odious, it is imperative to keep in touch with your
notes.
 Chapter 5

Understanding the
Different Modes

To understand the modes, you must appreciate the fact that we have many
modes for each parent scale. The parent scale is the set of seven notes that
constitute the scale. For instance, the C major scale will have the notes C D E
F G A B. We call these notes degrees. So, the root note is C, and the second
degree of the C major is D. The fourth degree will be F. Notation for this
scale is R 2 3 4 5 6 7 (R is the root note). Since this is the major scale, the
interval pattern is W W H W W W H where W represents a whole step (two
frets), and H represents a half-step (one fret). Between first and second notes
C to D, the gap is W meaning there are two half steps C# and D to reach the
note. Between E and F, there is no gap since there is no sharp for B and E.
(E# is F and B# is C). Half-notes exist between 3-4 and 6-7 notes on a major
scale. If you apply the interval pattern from C, you will get all the notes as
seen.
We can have the minor scale instead of the major scale in which case the
notes we will have to include are C D D# F G A B C. You can see the third
degree remains flattened in this scale. Here the interval notation is R 2 b3 4 5
6 7 (b stands for a flat like # stands for sharp). The pattern is W-H W-W-H W
W.
To confuse things a little more, we can have different parent scales. There are
thousands of them, including a natural minor, harmonic minor, minor
seventh, major seventh, and so on. Each of them has a different interval
pattern, and for each of these patterns, we can play the different modes. We
get different modes by playing the notes of the parent scale but from different
starting places.
We play the Ionian mode using the same notes and patterns as the parent
scale. So, the C Ionian mode is the same as the C major scale and has the
notes C D E F G A B. To get the Dorian, we play the C major scale from D to
D as D E F G A B C. The notes in the Dorian mode are the same as the parent
scale, but since the order begins on another note, the interval pattern changes.
Major scale interval - R 2 3 4 5 6 7
Dorian scale interval - R 2 b3 4 5 6 b7
Learning all the modes is tough, to say the least. But, they give endless
fingering possibilities, and this is important to a lead guitar player. If you take
up the rhythm guitar, it will prove useful when you have to play with a lead
guitarist who is using the Dorian over the minor seventh, for instance. You
build all seven major modes and use this step by step formula.
Starting Mode is Lydian.
Add the natural 4 to the Lydian to get the Ionian.
Next, add the b7 to this and get the Mixolydian.
When you add the b3 to the Mixolydian, we get the Dorian.
Add b6 to Dorian, and we get the Aeolian.
Aeolian plus b2 gives us Phrygian.
Add b5 to Phrygian to get the Locrian.

Playing Lydian Mode

We have Lydian mode as the 4th mode of a major scale. It will seem like you
are playing the G major scale from the C note. The #11 interval, which we
write as #4 (4+7 actually), creates tension. The interval pattern for the Lydian
mode is like this:
R 2 3 #4 5 6 7
This pattern forms the starting position or pattern for all other modes, so you
must learn it and practice it well. This mode helps you play solos over maj7
chords.

Four Fingering Patterns for Lydian Mode

Pattern #1.
The first pattern is from the seventh fret. There are two octaves, the first
beginning from the eighth fret sixth string and ending on the tenth fret fourth
string. Here the next octave begins and ends on the eighth fret first string.
The notes on the first two strings are on frets seven, eight, and ten. On the
third string, it is on seven and nine. The fourth and fifth strings have notes on
the seventh, ninth, and tenth frets. On the sixth string, the notes are on the
eighth and tenth frets.
Pattern #2.
Here, the notes begin with a second fret. The notes on the first string are on
the frets two, three, and five. On the second string, they are on three and five.
On the third and fourth strings, the notes are on two, four, and five and the
fifth string, they are on the third fret and fifth fret. The octave note is on the
third fret fifth string and ends on the third-string fifth fret.
Pattern #3
We have notes of this pattern from the fourth fret onwards. We play all the
notes except the sixth string on the fifth and seventh frets. It has the middle
two notes on the fourth fret and three notes on the eighth fret on the first,
second, and sixth strings. The octave notes are on the eighth fret first and
sixth string and the third-string fifth fret.
Pattern #4
Here we play from the eleventh fret onward. There is one note on the
eleventh fret on the third string and one on the thirteenth fret on the second
string. We play the first four strings on the twelfth fret. We have three notes
each on the fourteenth and fifteenth frets. They are the strings one three and
four on the fourteenth fret and one, two, and five on the fifteenth fret. The
octave note is on the fifteenth fret of the fifth string and ends on the thirteenth
fret of the second string.

Playing Ionian Mode

Ionian also helps one play solos over tonic maj7 chords. We get the Ionian by
lowering the 4th of Lydian by one fret. Now, try these fingering patterns by
soloing using the notes shown. You can play the notes in the way you like.
Make sure to memorize all the notes in the pattern.
Pattern #1
The pattern starts on the seventh fret. We have the first, third, fourth, and fifth
strings on the seventh fret. On the eighth fret, we play the first two and last
two strings. The ninth fret has the middle two strings. We play all the strings
on the tenth fret. The octave note is on the eighth fret first and sixth strings
and on the tenth fret fourth string.
Pattern #2
The octave begins on the third fret of the fifth string and ends on the fifth fret
third string. We have the middle two strings on the second fret. On the third
fret, we play the frets one, two, four, and five. The fourth fret has the note on
the third string, and on the sixth fret, the note is on the second string. We play
all the strings on the fifth string.
Pattern #3
We play this pattern from the fourth fret. It has all the strings on the fifth fret
and all except the second string on the seventh fret. On the eighth fret, we
play all except the middle two strings. We have a single note on the fourth
fret third string and one on the sixth fret second string. The octave notes are
on the eighth fret first and sixth strings and the third-string fifth fret.
Pattern #4
Here, the notes begin with the twelfth fret. We play the first four strings on
the twelfth fret. On the fifteenth fret, the notes are on the first, second, fourth,
and fifth strings. The thirteenth fret has the first two strings while the
fourteenth fret has three and four. The octave notes are on the fifteenth fret
fifth string and the thirteenth fret second string.

Playing Mixolydian Mode

You have to change one note from the Ionian mode. This is the 5th mode of a
major scale. We solo over the 7th chords using this mode. You lower the
seventh by one fret to get this mode.
Pattern #1
This pattern begins with the seventh fret, where we have the third, fourth, and
fifth strings. We have two single notes, one on the ninth fret third string and
another on the eleventh fret second string. We play all the strings on the tenth
fret and all except the third on the eighth fret. The octave notes are on the
eighth fret first, and sixth strings and tenth fret the fourth string.
Pattern #2
The notes begin from the second fret, where we find the notes on the middle
two strings. We play the first five strings on the third and fifth fret. On the
sixth fret, we play the first two strings. The octave note is on the third fret
fifth string and the fifth fret third string.
Pattern #3
Here we begin with the fifth fret on which you play the first five strings. On
the sixth string, the notes are on the first two strings, and on the seventh fret,
we play the third, fourth, and fifth strings. On the eighth fret, we play all the
strings except the third string. The octave notes are on the eighth fret first and
sixth strings and the fifth fret third string.
Pattern #4
For this pattern, we play the first, third, and fourth strings on the twelfth fret.
The first five strings remain included on the fifteenth fret. We have the first
two strings on the thirteenth fret and the third and fourth strings on the
fourteenth fret. The octave note is on the fifteenth fret fifth string, and
thirteenth fret the second string.

Playing Dorian Mode

We are now moving to minor-based modes. We solo over m7 chords using
the Dorian mode. Here the characteristic note is the natural sixth because all
the other minor scale modes have b6. We lower the third of the Mixolydian
by one fret to get the Dorian mode.
Pattern #1
We begin this pattern on the seventh fret with the middle two strings. All the
notes on the eighth and tenth frets. On the eleventh fret, we play the first,
second, and sixth strings. The octave notes are on the eighth fret first, and
sixth strings and tenth fret the fourth string.
Pattern #2
This pattern begins on the second fret third string note. On the third fret, the
first five strings remain included. The sixth fret has the strings one, three,
four, and five. There is another single note on the fourth fret second string.
On the sixth fret, we have the first, second, and fifth strings. The octave note
is on the third fret fifth string and the fifth fret third string.
Pattern #3
In this pattern, the notes begin from the fifth fret. We play the strings one,
three, four, and five. All the notes on the eighth fret get included. On the
seventh fret, we play the middle two strings. The sixth fret has the first,
second, and fifth strings. The octave notes are on the eighth fret first and
sixth strings and the fifth fret third string.
Pattern #4
Here, the notes begin with the twelfth fret. We have the two middle notes of
the twelfth fret and the first five strings on the fifteenth fret. We have two
single notes, one on the fourteenth fret third string and another on the
sixteenth fret second string. The thirteenth fret has notes on the frets one,
two, and four. The octave notes are on the fifteenth fret fifth string and the
thirteenth fret second string.

Playing Aeolian Mode

For the major scale, the Aeolian mode becomes the sixth mode. As before,
we solo using this mode over the minor seventh chords. We see the b6 of the
Aeolian mode doesn't have the characteristic jazz sound, and so most
guitarists use Dorian instead. We build the Aeolian by lowering the 6th of the
Dorian by one fret. We have four common fingering patterns.
Pattern #1
In this pattern, the notes begin with the seventh fret. We have one note on the
seventh fret third string and one on the ninth fret second string. All the notes
of the eighth fret remain included. The tenth fret has all the strings except for
the second. At the eleventh fret, the top two and bottom two strings get
included. The octave notes are on the eighth fret first and sixth strings and the
tenth fret fourth string.
Pattern #2
We have notes from the third fret, where we have the first five strings. On the
fourth fret, we play the first two strings. The fifth fret has the third, fourth,
and fifth strings. On the sixth string, we play the first, second, fourth, and
fifth strings. The octave begins on the third fret fifth string and goes up to the
fifth fret third string.
Pattern #3
Here the notes are on the fifth fret third, fourth, and fifth strings. We play all
the notes on the eighth fret and the second string on the ninth fret. The other
single note is on the seventh fret third string. On the sixth fret, we play the
first, second, fourth, and fifth strings. The octave notes are on the fifth fret
first and sixth strings and the fifth fret third string.
Pattern #4
This pattern has the middle two strings of the twelfth fret and the first two
strings of the sixteenth fret. We play the first four strings of the thirteenth fret
and the first five strings of the fifteenth fret. The octave notes are on the
fifteenth fret fifth string and the thirteenth fret second string.

Playing Phrygian Mode

On a major scale, the Phrygian mode becomes the third mode. This mode
brings a flamenco sound to your solo. We play this without the 3rd and the
intervals b9, #9, and b13. The missing 3rd produces the characteristic open
sound. We build this mode by lowering one fret of the second of the Aeolian.
Here are the most common fingerings of this mode.
Pattern #1
This pattern begins from the eighth fret, where we play all the strings. On the
eleventh fret, we play all the strings except the third. On the ninth fret, we
have the first, second, and sixth strings. The tenth fret has third, fourth, and
fifth strings. The octave notes are on the first and sixth strings of the eighth
fret and the tenth fret fourth strings.
Pattern #2
Here we have notes from the third fret where we play the first, third, fourth,
and fifth strings. On the fourth fret, the strings one, two, and five remain
included. The fifth string has the middle two strings. The sixth fret has the
first five strings. The octave notes are on the third fret fifth string and the fifth
fret third string.
Pattern #3
In this pattern, the notes begin from the fourth fret, where we play the first
and fifth strings. The fifth fret has the middle two strings. The sixth fret has
the first five strings while the eighth fret has all the strings. The octave notes
are on the eighth fret first and sixth strings and the fifth fret third string.
Pattern #4
We play this pattern from the eleventh fret on the fourth string and go up to
the sixteenth fret, where we play the first two strings. There are two more
single note frets. One is the twelfth fret where we play the third string, and
the other is the fourteenth fret where we have the second string. We play the
first four strings of the thirteenth fret and the first, third, fourth, and fifth
strings of the fifteenth fret.

Playing Locrian Mode

On a major scale, the Locrian mode becomes the seventh mode. We use this
to solo over the m7b5 chords. We build this mode by lowering the 5th of the
Phrygian. Here are the common fingerings of this mode.
Pattern #1
The first pattern begins on the eighth fret, where we play all the strings
except the second. The ninth fret has the top two and bottom two strings, and
the tenth has the middle two. On the eleventh fret, we play all the strings. The
octave notes are on the eighth fret first and sixth strings and the tenth fret
fourth string.
Pattern #2
In this, we begin to play notes from the third fret onward. The third fret has
the third, fourth, and fifth string notes. We have one note each on the fifth
and seventh frets. In the fifth, it is on the third string, and in the seventh is on
the second. We play the first five strings on the sixth fret. On the fourth fret,
we play the first, second, fourth, and fifth strings. The octave begins on the
third fret fifth string and ends on the fifth fret third string.
Pattern #3
For this pattern, we start with the notes of the first, fourth, and fifth strings on
the fourth fret. There is one note on the fifth fret third string and one on the
seventh fret second string. We play the first five strings on the sixth fret and
all except the second string on the eighth fret. The octave begins on the
eighth fret sixth string and goes on to the fifth fret third string. The top octave
note is on the eighth fret first string.
Pattern #4
The first two notes of this pattern are on the eleventh fret on the middle two
strings. We have two notes each on the first two strings of the fourteenth and
sixteenth frets. On the thirteenth fret, we play only the first four strings. And,
on the fifteenth fret, we play the third, fourth, and fifth strings. The octave
begins on the fifteenth fret fifth string and ends on the thirteenth fret second
string.
 Chapter 6

Methods to Hold Your Guitar

Use one of the three options to hold your guitar. Don't forget, learn right from
the beginning. It is so easy to learn the wrong things, and they stay with you
for many years before you set them right again. So, you can do it sitting down
or standing up.

Sitting Poses
Pose 1: Sit down and put your leg on a footstool. Right-handed people use the
footstool for their left leg. Your guitar will rest on your left thigh. This pose
is good for beginners because elevating the neck of your guitar brings the
fretboard closer to you. This makes it easy to play all the notes.
Pose 2: Sit down in a chair (without a footstool) in a comfortable position.
Rest your guitar on your left leg. This position makes people slouch because
they want to see the fretboard when they play notes. You can rotate this
position by going to the deck chair or sitting on your living room swing.
In both cases, be sure to rest your back on a hard backrest. Keep your back
erect to avoid stress buildup. Soft chairs promote bad habits that will stick to
you for a long time.

Standing Poses
This pose helps you relax and have a proper hold on your instrument. Use a
shoulder-strap to keep your guitar in an easy-to-reach hold. Use your left
hand to fret (fretting hand) while you strum with the other (strumming hand).
Adjust the length of the strap so that the frets are within reach, and it is easy
to strum.
Also, you must choose a place to play the guitar. Hang your guitar on the
wall in the corner of your room or use a stand. Select a place for yourself for
your guitar practice. This helps you align your thoughts and follow a
schedule with ease.
 SECTION III
STARTING TO
PLAY - CHORDS TO BEGIN
 Chapter 7

Play Basic Chords

What is the use of holding a guitar if you don't know what you are going to
play? Let us learn a few chords so we can begin to play the guitar. First, we
are going to see only the basic chords, but you will learn advanced chords in
the later chapters.

Numbering for Fingers and Strings

We number the strings from the lowest to the topmost. The lowest string is
string number one; it is the thinnest string. The topmost is the thickest string,
and that is number six. Both these strings are E. Remember names of strings
because, at times, we might refer to them as E-A-D-G-B-E. Use a mnemonic
to help you remember it - Eligible and Distinguished Guest Bachelor Excels,
'Eligible' is the thickest (sixth string).
For the fingers, the numbering is like this. The thumb is not numbered, we
refer to it as 't' when needed. The forefinger (index finger) is number 1, the
middle finger is number 2, the ring finger is number three, and the pinkie
finger is number 4. As we move away from the thumb, the number increases.

Playing the G major chord

Here we learn the open string G chord. You will need to hold three strings
down - the first on the third fret, the fifth string on the second fret, and the
sixth string on the third fret. Use your first finger for the second, fifth string,
the second finger for the sixth string, and the third finger for the first string.
Strike all the strings when you play the chord.
The notes of this chord are G, B, and D. The notes you play are G, B, D, G,
B, and G. When you start, you can play the first string alone (hold it down at
the third fret) and strike the bottom four strings. But, you have to stretch your
fingers, so keep practicing.
You can either strum all strings up and down or down-down pause, down-
down pause. This is a three-count. Another way to play this is to pluck the
sixth string and strike all the strings with a carrom stroke. This is by holding
the index finger with your thumb and releasing it to hit all the strings. Follow
this by plucking the fifth string and striking all the strings with your index
finger. You can follow this method for all the open string chords.

Play the C major chord

This is also an open string chord. We call them open string chords to
distinguish them from movable chords, which we play with a barre. This
barre can move up the fret to any fret on the fretboard. For the C chord, we
hold down three strings. These are the second string on the first fret, the
fourth string on the second fret, and the fifth string on the third fret. Use the
first finger to hold down the second string, the second finger to hold down the
fourth string, and the third finger to hold down the fifth string.
The notes of this chord are C, E, and G, and when you play all the strings, the
lowest remains included. But, technically, you play an inversion of C chord,
which doesn't have the root as the lowest note. The basic chord has the root
note as the lowest note. In this case, it is E and not C, and so it becomes an
inversion of the chord. We refer to this chord as C/E - C root E.
While strumming, pluck the fifth string first and then go to the sixth string.
This will sound better. Or, if the song warrants it, play an up-down-up-down
strumming pattern.

Play the D major chord

This is an easy chord to play, and beginners will find it useful to play D
major for their strumming practice. But, one must play only the bottom four
strings.
You have to hold down three strings, the first with the second finger, the third
with the first finger, and the second with the third finger. Hold the first and
third strings down on the second fret and the second string on the third fret.
The notes of the D chord are D, A, D, F#. This combines with G chord and A
chord (which we learn next) and helps you play many songs.
Use the up-down, up-down strumming if the count is four and the down-
down pause pattern for three-count.
Practice the A major chord
Another chord to play for your strumming practice is A chord. Here you play
all the strings when you strum.
Hold down the second, third, and fourth strings with your fourth, third, and
second fingers in that order. The reason is that when you move up the
fretboard (to play A#, B, or C chords), you will need to hold the first string
down, two frets down. So, for the A chord, your first finger will remain on
the open string E.
The notes of this chord are A, E, and C#. If you play the A# chord, the notes
become A#, F, and D. You will hold the second, third, and fourth strings with
the same fingers on the third fret and hold the first string on the first fret. If
you slide it up two frets, it becomes C major chord. But, make sure you
sound only the bottom four strings or else play a barre on the third fret and
press down the strings on the fifth fret.

Get to know the E major chord

This chord completes the five basic shapes you have to learn in guitar play.
This chord combines with A, and you can sing many songs using E and A.
Hold down the third, fourth, and fifth strings on the first fret, second fret, and
second fret in the same order. Use your first finger for the third string, the
fourth finger for the fourth string, and the third finger for the fifth string. You
can play all the strings.
The notes of this chord are E, B, and G#. You will learn how to play the
minor and seventh chords in the coming sections.
 Chapter 8

Useful Strumming Patterns

To become a successful guitar player, one needs to have a sense of timing.

Keep count of what you play so your music remains clear and appealing. The
basic count, as mentioned, is either a four-count or a three-count. Let us see
what the four-count is first.
Pattern 1: You begin by playing the D major chord downstrokes counting 1-
2- 3-4 over and over again. Strike the strings on every second count. The
fourth time you play the downstroke, play down-up-down-up, and repeat the
cycle.
Pattern 2: This basic pattern will help beginners develop a sense of rhythm.
Here, you strike the strikes four times in a count of four. What you can do to
change the monotony of this exercise is to change the chords. Start with D
major, and after you finish one set of four strokes, change to A major. Then,
play it four times, and change it to C major. This you play four times and
move to G major. Then, you repeat the cycle. You can do this for all your
patterns.
Pattern 3: Here, you use a down-up stroke on every second beat. The first
beat will remain a simple downstroke. So, you will have down down-up
down down-up. As before, change the chords when you play. It is not
necessary to use all the chords, simply go from D to A and then come back.
Pattern 4: Use two down strokes with two down-up strokes. The pattern is
down down down-up down-up. Keep your wrist loose at all times. If not, you
will develop immense pain, and this will make you stop playing the guitar.
Pattern 5: Play one downstroke and follow it with three down-up strokes. So,
the pattern will be down down-up down-up down-up.
A variation of this pattern is to use the down down-up down down-up-up
pattern. When you play the last upstroke, it is a filler. So you needn't strike all
the strings, merely playing one or two strings will have the effect you need.
Play the E chord and change to A. Then, change back to E again. You can
also use the D and G chords for this exercise.
Pattern 6: Here, we skip the pause between the second and third beats. The
pattern is down-up down-up-down-up down up. Notice that there is no gap
after the second beat. Use a single chord initially for practice and then add
chords as you become more fluent.
Pattern 7: We can also do one down-up stroke after a downstroke and then
after an upstroke. The pattern is down down-up up down-up. Use the chords
that you want to become familiar with and practice-changing them as you
play. Change from D to G and then go to C and so on.
Pattern 8: The beauty of music is there is an endless range of variety in
melody and rhythm. In this pattern, we play two downstrokes, followed by an
upstroke and a down-up stroke. The pattern is down down up down-up.
One important thing is to keep your strumming hand moving all the time. It
needn't always strike the strings, but it must remain close to them at all times.

Advanced Strumming Patterns

Here we see how to add some off-beat variations to introduce the sixteenth
note in the beats. This peps up the rhythm and makes it livelier.
Pattern 1: Play four downstrokes and then flick the strings upward before
repeating the cycle. This is a mere upward flick, and so most beginners will
find it easy to do this. The pattern is down down down down-up. Keep the
upstroke separate from the main four strokes. Change the chord after every
fourth stroke. You will develop good speed in your fretting hand with this
exercise.
Pattern 2: What you are going to play is harder than what we have done so
far. This is a count of four with two downstrokes on the first beat. Count real
slowly so that you have enough time to play two downstrokes on the first
count. Change your chord after the fourth count. The second and third beats
have singe downstrokes, and the last count has a down-up-down stroke.
As soon as you finish your last down-up-down stroke, your fretting hand
must move to the next chord. You will find it interesting to use more chords
in this pattern.
Pattern 3: Another tough pattern, here we start on a four-count with a down-
up-down stroke followed by a pause and a downstroke. Use another pause
and play an upstroke. Follow this with another down-up-down stroke and a
downstroke and an upstroke. The pattern is down-up-down down up, down-
up-down down up. Change chords as needed.
Pattern 4: Use this pattern for slow songs. Here we damp the strings for the
second and fourth beats. So while you play the second downstroke, it is more
of a percussive effect, meaning it sounds like a snare drum rather than a
guitar. Follow it with an upstroke on the offbeat and then play two more
downstrokes. Your fretting hand will press on the strings only on the first and
third counts.
Or, you could play a down-up stroke on the second and fourth beats. Keep
lifting your fretting hand between beats.
Pattern 5: This is an interesting pattern for lead guitar players. Here you play
the first three counts on the chord you choose and use damping - lifting your
fretting hand between counts. On the fourth count, play the strings instead of
the full chord. Now, move on to the next chord and repeat the pattern.

Difference between Strumming and Plucking

The guitar sounds different because we use it in a variety of ways. One of the
changes we can use is to use plucking instead of strumming. How do the two
differ? When we strum, we play all the strings at once. So we hear the
combined sound of all the strings. Whereas when we pluck, we pluck the
individual strings one at a time. This allows us to hear them separately. If we
use some effects like hammering on or bending, this effect will stand out
when we play the guitar.

Learning to Use a Pick

The strum is a sweeping action, while plucking is more of a picking stroke.
The pick is a piece of plastic (it comes with the guitar, so you will have one
when you buy a new instrument) that helps you pluck or pick the strings. The
choice of pick depends on what you want to play - light ones like 0.46 for
strumming songs because they are easy to control and have a low 'zing' when
you play across the strings and 0.7 (thicker) for songs where you need to
strum.
The best picks include Jazz III from Dunlop, which is 1.5 mm thick, and you
won't find it bending at all. It helps you become accurate with your picking; it
is the favorite for metalheads. The second choice is the range of celluloid
picks offered by D 'Addario, which are of the medium gauge.
 Chapter 9

A Look at Plucking Patterns

You have already learned the basic strumming patterns so you can play them
with a variety of chords. Here is a look at the fingerpicking patterns that we
see in songs like Dust in the Wind, Stairway to Heaven, Tears in Heaven, and
Sound of Silence. Before we begin practicing, let us take a look at the
possibilities.
We use four fingers of the left (fretting hand) and the five fingers of the
plucking hand. We use a numbering system for convenience. We can see the
fingers of the right hand are T, I, M, R, and L. For beginners, plucking with
the little finger is not needed. You can add it as you become more proficient.
The fingers of the left hand (without the thumb) have the numbers 1, 2, 3, and
4.
Consider the thumb (T), index (I), middle (M), and the ring (R) fingers of the
right hand. Here are the combinations you use for plucking.
Thumb pluck first--Index pluck first----Middle pluck first---Ring pluck first
TIMR---------------IMRT-----------------MRIT--------------RTIM
TIRM---------------IMTR---------------MRTI-------------RTMI
TMRI---------------IRTM---------------MIRT-------------RIMT
TMIR---------------IRMT---------------MITR-------------RITM
TRIM---------------ITRM---------------MTIR--------------RMIT
TRMI---------------ITMR---------------MTRI--------------RMTI
When you have adequate control over your fingers, you can create wonderful
rolling and harmonious plucking effects.
To do the plucking practice, use a suitable chord run such as G - D - C - D -
G. Or, choose A - D - E as this is also easy. We pluck only the middle four
strings, do not touch the top or bottom strings. Keep your fingers over the
strings in this way - thumb over the fifth string, first finger (index - I) over
the fourth string, second finger (middle finger - M) over the third string, and
the ring finger (R) over the second string.
Hold the first chord G and pluck the strings in the TIMR sequence. Repeat
the sequence playing two bars for each chord. Change to the next D chord
and play it for two counts of four. Then, change to the C chord and play two
bars. Go to D again and play the sequence twice and finish on G.
In this way, play all the possible combinations until your fingers get
accustomed to the strings. You can add variations after you have practiced
the entire set of 24 combinations.
You also need to know the tab notation for playing notes. People have used
this notation since ancient times, and it has not changed much over time. You
have the six strings written with the chords above them and the frets to play
on each string written in the proper sequence. You see two lines, one on the
left and another on the right. You will pluck the left sequence first and then
do the right sequence. For instance, take the tab given below.
AE
e:--------0---------|-------0-----------|-------0---------|-------0------------|
B:-----2-----2-----|-----2-----2-------|-----0-----0-----|-----0-----0------|
G:---2-----2-----2-|---2-----2-----2--|---1-----1-----1-|---1-----1-----1-|
D:-------------2----|-------------2-----|-------------2---|-------------2-----|
A:--0-----0---------|-0-----0----------|-----------------|--------------------|
E:-------------------|-------------------|-0-----0---------|-0-----0----------|
Begin by holding the A chord for two bars (you can choose a chord you like
if they don't specify anything). The give the six strings, and they mark the fret
numbers for plucking. You pluck the thinnest (first) e string (it is always
marked with a small e) once with an open string (marked as zero). You only
pluck this once. The second string has two markings, and they are both fret
number 2. The third-string G has three markings, and these are on the second
fret. The D (fourth) string has only one mark 2, and the fifth A string has two
0 markings. So, the plucking pattern is to pluck the fifth string once with an
open string and go to G string (third) and second string. Pluck the first string
once before you pluck the third string, second string, and the third string.
Now, pluck the fourth D string and the fifth string once each. The finger
notation for this is T, M, R, L (Use the little finger for the first string), M, R,
M, I, T. Repeat it and then change the chord.
Now, change the chord to E major with the fretting hand. The pattern is the
same as before, only you will play the first fret on the third string (because it
is E chord) and will not play the fifth string this time. Instead, you will play
the sixth string. Use the thumb for the sixth string and the little finger for the
first string. The finger notation for this is T, M, R, M, L, R, M, I, T. Repeat it
and stop.
Here are a few more tabs for your practice. You could also use a pick instead
of your fingers if you are comfortable with it.
AE
e:------------------|------------------|-----------------|--------------------|
B:-------2-------2-|-------2-------2-|-------0-------0-|-------0-------0-|
G:---2-------2-----|---2-------2-----|---1-------1-----|---1-------1-----|
D:-----2-------2---|-----2-------2---|-----2-------2---|-----2-------2---|
A:-0-------0-------|-0-------0-------|-----------------|-------------------|
E:------------------|------------------|-0--------0------|-0-------0-------|
In this plucking pattern, we play the A and E chords. Hold them down for
two bars each. We do not play the first and sixth strings for the A chord. For
the E chord, we do not play the first string or the fifth string. The finger
notation is T, I, M, R throughout.
AE
e:---------0-------|---------0-------|---------0-------|---------0-------|
B:-----2-----2---2-|-----2-----2---2-|-----0-----0---0-|-----0-----0---0-|
G:-----2-------2---|-----2-------2---|-----1-------1---|-----1-------1---|
D:---2---2---------|---2---2---------|---2---2---------|---2---2---------|
A:-0---------------|-0---------------|-----------------|-----------------|
E:-----------------|-----------------|-0---------------|-0---------------|
Here we have the same two chords A and E. We play the open first string
throughout. When we play the A chord, we use the open fifth string but do
not play the sixth string. When we play the E chord, we do not play the fifth
string but play the sixth open string. The finger notation is T, I, M, R, L, R, T,
I, M, R.
AE
e:----------0-----|----------0-----|----------0-----|----------0-----|
B:-------2----2---|-------2----2---|-------0----0---|-------0----0---|
G:-----2--------2-|-----2--------2-|-----1--------1-|-----1--------1-|
D:---2------------|---2------------|---2------------|---2------------|
A:-0--------------|-0--------------|----------------|----------------|
E:----------------|----------------|-0--------------|-0--------------|
Again, the chords are A and E. We play the open first string throughout. For
the A chord, we play the fifth open string note, and for the E chord, we use
the sixth string open note. The finger notation is T, I, M, R, L, R, M - T, I, M,
R, L, R, M (Change chord to E) T, I, M, R, L, R, M - T, I, M, R, L, R, M.
AEA
e:----------0-----------|----------0-----------|----------0----------|
B:-------2----2--------|-------0----0--------|-------2----2--------|
G:-----2--------2---2-|-----1--------1---1--|-----2--------2---2--|
D:---2------------2---|---2------------2-----|---2------------2----|
A:-0-------------------|----------------------|-0--------------------|
E:----------------------|-0--------------------|----------------------|
In this pattern, we use the A chord, change to E, and then change back to the
original A chord. We play the open first string throughout. For the A chord,
we use the fifth string, and for the E chord, we play the sixth string. The
finger notation is T, I, M, R, L, M, R, M, I. Use this pattern for all the
changes.
 Chapter 10

Song Genres for Guitar Music

Before we pick the guitar up, one must know which direction to take. You get
into a car to go somewhere (unless you are learning to drive, which is where
we are), and assuming you already know how to drive; you must decide
whether you want to go visit your Aunt June or make a trip to the mall. With
a guitar, you must decide whether you want to play rock songs or make
country music. Here we take a look at some of the offerings from which one
may pick. Do not feel restricted from choosing one genre alone. If need be,
choose two or three, and then you can gravitate to the place you belong when
you start playing the guitar.

Different Song Genres

Different song genres have particular quirks that make them unique.
Adopting a tactful approach is important, so pay attention to why each of
them is different. The new guitar player must pick the style of music (genre)
he or she wants to specialize in. For the uninitiated, genre refers to the style
of music with a huge following with distinct features. We categorize music
according to whether they suit a specific occasion such as Wedding Music
and Party Music or have an inherent style inbuilt such as Jazz, Country, or
Rock music. Also, we could classify the songs according to the way we play
them, such as by using a pick or using our fingers alone. Though there are
thousands of groupings, we will see the most popular ones. This will help you
determine where you want to go right at the outset; it is tough to change
directions midstream. So, you have to make up your mind before you even
buy your first guitar.

Country Music
That said, here is the opening item on our list – Country Music. Having
originated in the 1920s, it has its roots in American western and folk music. It
includes a wide range of instruments other than the steel and electric guitars,
such as the mouth organ and mandolin. The tunes are catchy and down-to-
earth, and it has an easy-to-follow rhythm so that everyone gets the feeling of
involvement when they hear the song. Typically, it is 'Unadorned' music
meaning there is no bending or other such special effects. There is plenty of
harmony and melody in the song, so people who like mellifluous music will
remain addicted. If you like songs like I Walk the Line, Jolene, and Crazy,
you are a country song type of person.

Rock Music
Most people readily classify any loud music like rock music for a reason; the
main characteristic of rock music is its "heaviness" or loud thumping beat.
Originating as "Rock and Roll" music came into being in the 1950s. The
music has power chords, a loud bass guitar, and energetic drumming
punctuated by crashing cymbals. You will need the same instruments to make
rock music that you use for any other genre, such as the electric lead and bass
guitar, drums, keyboards, and a rhythm guitar. What you will also need
includes amplifiers, speakers, MIDI controllers, microphones, signal
processors, audio software, and a computer. You can read more about this in
the coming chapters. In this type of music, you have plenty of special effects
such as bending, distortion, chorus effect, flanging, reverberations with wah-
wah pedals, delay, and graphic equalizers. Almost all new guitarists try these
effects and become hooked for life.

Jazz Music
Wonder what innovation in the music world sounds like? The name is jazz,
and there are no limits to what one can do or where one may go in this genre
of music. They include all kinds of instruments such as the saxophone,
trumpet, piano, and the guitar. Jazz relies on harmony and distortion in the
timing of the notes. It makes the listener wait for a note that takes time to
materialize; this creates the dissolution of the stress build-up that one
normally experiences with other kinds of "predictable" music genres. Great
deviations in the note happen through bending and distortion. But then, it
takes talent to become a jazz player.

Rhythm and Blues

Based on common, everyday themes like relationship, freedom, sex,
happiness, love, and life, Rhythm and Blues songs have an energetic tempo
produced through electronic gadgets with vocals corrected for pitch is lush
and smooth. It combines pop, electronic music, hip-hop, funk, and soul.
Many R&B musicians such as Michael Jackson and Stevie Wonder use
melisma, the technique of waiting on one word while moving between
several notes, to emphasize their music. Electronics influence is dominant in
this kind of music. The combination of hip-hop with R&B became New Jack
Swing in contemporary music. Musicians like Bobby Brown, Michael
Jackson, Jodeci, and Guy are examples of artists in this category.

Electronic Dance Music

DJs form this EDM (Electronic Dance Music) live, and so everything is
unique. They add dozens of tones to the music when they play in clubs and
get-togethers for partying. Within this group, you have sub-genres such as
Electro, Mashups, Trap, Glitch, Dubstep, Hardstyle, and Trance. As per its
name, this music remains dominated by electronic gadgetry and effects.
Through this, the DJs aim to move the people on the dance floor. EDM with a
tempo 140-150 BPM gets grouped into hardstyle music. Both House and
Hardcore music influence predominate this sub-genre.

Pop Music
Pop music, originating in the 1920s, encompasses several styles of music
because it borrows elements from each of them. You find flavors of Latin,
rock, dance, country, and urban styles in pop music. Aimed at teenagers, this
genre of music has a universal appeal and has the characteristic of evolving
all the time. Most of the songs performed by ABBA, The Rolling Stones, and
The Beatles come under this category since it describes both rock and roll
music and youth music. It combines aspects such as vocal harmonies of soul
and gospel music, dance music tempo, electronic music backing,
orchestration resembling that of classical music, and the rhythmic aspects of
hip-hop music.

Indie Rock Music

Classified as alternative rock music, Indie rock had its origins in the 1980s.
The huge impact it had on the music industry gave birth to several sub-genres
such as noise pop, emo, lo-fi, post-rock, and math rock. If you want to know
more, download a few songs using YouTube and listen to them. It might be
that your destiny is to become an Indie rock musician!
Heavy Metal
The genre of rock music originated in the United Kingdom in the 1960s and
1970s. It is a subgenre of Rock and Roll, Hard Rock, Psychedelic Rock,
Metalcore, and Rock genres. The main aspects include lengthy guitar solos,
exaggerated loudness, emphatic rhythm, and amplified distortion.
Aggressiveness is a necessary ingredient in this kind of music and affects a
person's mental behavior and health. Many people blame this type of music
for inciting violence and unruly behavior. This depends on the perspective on
has and on the person's social disposition. Some of the main genres of heavy
metal music include Avant-Garde Metal, Gothic Metal, Doom Metal, Celtic
Metal, Nu-Metal, and New Wave of British Heavy Metal. Extreme music like
this can cure depression and dissipate anger, and people like it for the way it
makes people calm.

Gospel Music
Everyone knows what Gospel music is. It is Christian music with highly
harmonized and strong vocals associated with Christian worship and
ceremonies. The lyrics point to Christian principles, and many of them have
origins in the 17th century among the black communities who served as
slaves in British colonies. Another feature, especially among sacred songs
and hymns, is the repetitive call-and-response pattern that serves to discipline
the mind. We can say it is a derivative of R&B, Country music, and Soul
music that come under the Spiritual music classification.

Ska
Off-beat rhythm and a walking bass line define ska, which combines music
styles of Caribbean Calypso, mento, and jazz. It is the precursor to reggae
and rocksteady genres of music. Playing this kind of music is a spur for
newcomers because of the challenge of singing the song on the offbeat. Try
it, and you might like to go the ska way. It originated in Jamaica in the late
1950s during the first period of ska. It transformed to become 2 Tone ska
popular with skinheads and British mods. This saw the inclusion of hard-
edged punk and faster tempos. Later on, it became the third wave ska that
saw a following from bands around the world, including Germany, Japan,
Australia, the US, and South America.
Ska music remains typified by off-beats played on 4/4 time known as ska
upbeat, which emphasizes beats 2 and 4 with rests between them. The strum
is percussive (a style of strumming that imitates drumming patterns) with an
eight-note introduced in faster versions.

Hardcore Punk
This form of punk rock music forms both a punk rock genre and a subculture.
Derived from Grunge, Alternate Rock, Crust Punk, Death Metal, Screamo,
Thrash metal, Emo, and Noise Rock, Hardcore Punk is an aggressive form of
punk rock. Unlike mainstream rock, it avoids any form of commercialism,
resemblances to established rock, or the music industry norms to address
social topics with lyrics addressing political issues.
It came into being in the 1970s while hippie culture still dominated, with lots
of subversive humor and masculine anger. Starting from the western
countries that spoke English, it spread to Italy, the Middle East, Europe,
Japan, and Brazil. True to its nature, it never saw much commercial success.

Funk
The African-American communities came up with funk music during the
mid-1960s. Arising from a mixture of soul, R&B, and jazz, funk has a
rhythmic element suited to dancing. James Brown created a song in 1965
called "Papa's Got a Brand New Bag," which became the first funk song.
There is no emphasis on melody or chord progression, but it has a strong
rhythmic groove, for this one uses an electric bass guitar and drums to bring
about the danceable feeling that is almost a hypnotic trance. It has minor
chords with added elevenths and sevenths like bebop jazz.
The downbeat gets stressed upon as laid down by James Brown in his
signature song. The first beat of each measure gets the stress while the
sixteenth notes get swung. We see a syncopation of guitar riffs, drum
patterns, and basslines. You find funk samples in many hip-hop songs and
versions of EDM. Go-go, the subgenre of funk, depends on this characteristic
for its existence.
 SECTION IV
IMPORTANCE OF PRACTICE
 Chapter 11

How to Practice

Getting started is the first step. This means you need to sit down and begin to
play the guitar. You might play a couple of notes or chords sitting on your
living room sofa. But is it enough? One has to have a plan, a concrete
schedule that works well with your regular itinerary. Here is how you do it.
The first thing is to make a list of the things you need for your guitar practice.
When you have a bit of experience under your belt, you can work out the
extra things you need to get ready for a stage performance. Also, there are
secret nuances in scale play that you will learn only through practice. We will
show you the patterns that make up the scale so you can delve into the secret
world and discover for yourself.
Find Space Inside or Near Your House
You do not want to go a mile and a half to play the guitar. (This might be
necessary if you don't have space inside your house and your friend has!)
Playing the guitar should be a natural exercise like you walk into your room,
see your guitar, pick it up, and play a few chords. Making time for guitar
practice is for the serious guitar player bent on becoming the next Jimi
Hendrix, Jimi Page, Billy Gibbons, Bruce Springsteen, or Mark Knopfler.
You don't reach the top by dreaming; you do it by putting in serious hard
work.
Fixing a space where you can practice undisturbed will help you lay the
foundation for your guitar career. Keep the focus on what you want to
become in your mind, only you can achieve this kind of thing, and so you
have to take the time and space for this work. The top options are these:
Garage space.
A shed in your garden.
A closed room in the house.
 A room in the attic.
The room in your friend's house.

When you are starting, it is enough that you have a separate corner of your
house for your guitar practice. But, when you begin to put in an hour or two
of practice, you will need to move around, arrange your amp and speakers,
and do the "walk" to reach the end of your dreams.
Develop a Technique
The technique is the way of doing something. Even if you are taking a walk,
make sure you have your lines right, you can choose a variation of doing it
like waiting for the cows to come in from the meadow before you start or
getting home before the cows get back. Or, wait until the skies turn crimson
before heading back home and things like that. This helps you to keep time,
refine your walk, and keep your mind in focus always.
The guitar technique is similar. Everyone holds the guitar and makes some
sound, and you are going to do the same. Be different by making sure you
have a routine worked out. There are many things you could work on, such as
the way you hold the guitar, whether you sit or stand, how to strike the
strings, which genre to follow, what should you practice, and which idol to
venerate. So, the technique is the total of all the things that go into your guitar
practice. You can even make your dress sense a point to include.
Practice Writing
Make a note of the things you do. It is a diary but one that deals in detail with
your guitar play. If you want to make personal notes about how you feel and
how far you are from your goal, use a pen with a different color. When you
use your computer, it is a simple matter to use different colored fonts for
different thought streams.
Writing must become routine. For this, make sure you begin your practice
after you pen a few words in your diary. This will align your thoughts and
give a direction to your actions. The more you get into the habit of writing,
the more refined your practice will become.
Also, writing will help you understand the guitar better. The thoughts you
pen will clear your mind and clarify your thoughts so that you get an insight
into any problem. There might be doubts about how to play a specific chord
or whether a note occurs on a particular scale. Please note it down so that you
can refer to it and clear your doubts when they occur. This improves your
confidence when you practice.
Stand and Play
It is alright to sit and play but once in a while, stand and play. This will
improve your posture and help you develop more control over your fingering.
There is a chance that your strumming will improve because you need more
control when you stand and play. Remember, you will stand when you give
live performances. By getting into the habit of standing and playing, you will
be ready for the big day sooner.
Many guitarists use a footstool when they stand and play the guitar. It helps
them develop a confident stance, but it has its shortcomings. For one, there is
an attitude of the audience to consider. They do not like it if a musician puts
his feet up on the stage. If you have to do it, make sure you do so behind a
dais or table that covers your foot. It is much simpler to stand and play.
Practice Half an Hour Daily
Making a habit of playing the guitar every day is important, especially when
you are beginning. This becomes automatic when you have chosen the space
to practice within your house premises. You will also need to set aside time,
either half-an-hour daily or first thing in the morning.
This is the "make or break" stage when you pick up a lot of unwanted things.
What bad habits you pick up stays with you for the rest of your life or until
you make a conscious effort to get rid of them. So, it is important to learn the
method of playing the guitar well.
So make sure you have got all the essentials right, and you are not doing
anything wrong when you take up the guitar. The first few days will be the
toughest, but you have to stick with it. Once you get past the initial hump,
you will see that guitar playing becomes natural to you.
Use the Right Position
You have to keep one important thing in mind. If you develop the habit of
slouching or using a bad pose, it will grow on you, and it will be
uncomfortable playing in any other position. Improper posture will not result
in injuries or pain immediately. It will take time for the muscles and nerves to
develop the response to not sitting in the right way.
Back, shoulder, wrist, elbow, neck, and arm pain will occur to those who are
lax about their posture. You might even develop tendonitis, Carpal Tunnel
syndrome, and repetitive strain injuries. We must pay attention to the details
that matter, so let us look at them.

First is the sitting position.

Sit down in a straight back chair and keep both your feet on the ground. Your
chest will stick our slightly, but don't make an effort to push your chest out. If
you do so, you will arch your lower back, and this might lead to muscle
tension. Try to lengthen your spine, and your pose raises your skull towards
the ceiling. This is to ensure your back is straight and not curved. Also, don't
lean down on your left hand.

Come closer to the guitar.

Raise your guitar so that it comes closer to you. Use a footstool (a cushion
will also do), so you raise your leg. This will bring your instrument closer to
you. Rest your right hand on top of the instrument so that you feel
comfortable. Use your forearm to hold the guitar in place. Your fretting hand
must have a good reach without any strain. If you feel uncomfortable, move
the thumb of your left hand behind the neck of the guitar.

Use a Guitar Model

Set up your goal with a guitar model. Top lead playing guitarists are Kirk
Hammet (Metallica), Angus Young (AC/DC), Jimmy Page (Led Zeppelin),
and Ritchie Blackmore (Deep Purple). Learn the riffs from their best tracks
and practice them. Keith Richards (The Rolling Stones), Bill Kelliher
(Mastodon), Izzy Stradlin (Guns N'Roses), Malcolm Young (Let There Be
Rock), and James Hetfield (Metallica) are the top rhythm guitarists.
When you set your idol, you aim to play the music they play in the way they
play. This helps you give a direction to your guitar playing. Once you finish
mastering the first riff, move on to the next one playing it until you are an
expert in that. Keep your mind on playing the guitar exactly the way they
play it.
Practice with a Metronome
The metronome is a rhythm keeper, and you can set it to any speed you like.
The way to count the speed on this machine is in beats-per-minute (bpm).
The common speed is to set it to 140 bpm and play your scales or chords to
this speed. So, you can have the metronome playing the rhythm with a
regular beep-beep-beep...while you play the notes to the speed.
It helps if you count along with it as 1 2 3 4 as you play. When you start
playing the chords, use a regular up-down pattern and get in time with the
metronome. If you want, you can practice changing chords in time to the
beat. If you play your guitar in accompaniment to the metronome for 5
minutes, it is as good as playing half an hour without it.
Be Comfortable
Don't play the guitar when you are uncomfortable. Relax, change your
clothes, and have some refreshments before you take up your instrument.
Make a flow of the motions you use to pick up the guitar and get into
position. This is important, but if you don't pay any attention to it, you will
develop a natural flow in time.
Sitting (or standing) comfortably ensures total concentration on your guitar
playing. If something is nagging you - maybe you haven't bathed yet, or you
haven't let the dog out - it is going to affect your practice session. Also, shut
out distractions when you play, there is bound to be a few of them, but when
you develop your style, you will play without paying any heed to them.
Choose songs that make you happy. Compile a list of riffs and songs that you
would like to learn and play. Get into instant sessions with your fellow
bandmates and see how good your delivery is. Get an opinion if you play
alone to see that you are on track with what you set out to do.
 Chapter 12

Music Theory

The notes of a musical scale remain arranged according to a specified

interval. But, before we start playing that, we must understand what a
chromatic scale is. The chromatic scale is the arrangement of all the notes on
the string. Thus, the chromatic scale on the first string (and the sixth string
since they are both E string) goes like this:
EFF#GG#AA#BCC#DD#E
In tab form, we write this as:
e -1--2--3--4--5--6--7--8--9--10--11
If we were to write the tablature for the chromatic scale on the second string
(B) it would be like this:
E -----------------------------------------
B -1--2--3--4--5--6--7--8--9--10--11
This would carry on in the same manner, and so the chromatic scales for all
the strings on your guitar would be like this:
e -1--2--3--4--5--6--7--8--9--10--11
B -1--2--3--4--5--6--7--8--9--10--11
G -1--2--3--4--5--6--7--8--9--10--11
D -1--2--3--4--5--6--7--8--9--10--11
A -1--2--3--4--5--6--7--8--9--10--11
E -1--2--3--4--5--6--7--8--9--10--11
This is not a major or minor or any other but the chromatic scale. It is
important to practice this, so you get a feel for your guitar. It is a useful way
to break the tension and relax completely. So, make it a point to play the
chromatic scale at least once every week.

Playing Notes
We can play different scales using one string or all the strings. We begin with
the C major scale on the middle four strings alone. Begin the scale on the
lowest (in this case, the fifth) string. (The first string we write using the small
letter e). Note that we don't play the first or the sixth strings.

The C major scale on four strings.

E -----------------------------------------------------
B ----0-----1----------------------------------------
G ----0-----2----------------------------------------
D ---0-------2------3-------------------------------
A --------------------3-------------------------------
E -----------------------------------------------------
The 0 represents the open note on the string. We can also play the fifth fret of
the previous string to get the same note. This holds for all strings except the
third-string, where the fourth fret will give you the open note of the next
string. You can use this technique to tune your guitar. Here we give you an
alternative tab for the same C major scale but without playing any open
strings.
E -----------------------------------------------------
B ---------1----------------------------------------
G ----------2-------4---------------------------------
D ----------2--------3-------5---------------------
A --------------------3--------5-----------------------
E -----------------------------------------------------
When you reach the top of the octave, play the notes in the reverse order to
come back to the starting note.
Let us play the notes on each string. To do this, make sure you keep time 1 -2
-3 -4 and tap your foot if needed. Let us begin with the first string and play
the G major scale.

The G major scale on the first string.

In the tab notation, you will have representation for all the strings. But, the
numbers (number of the fret you have to play) will occur only with the
specific string (s).
e ---------3---5---7---8---10---12---14---15--
B -------------------------------------------------
G -------------------------------------------------
D ------------------------------------------------
A -------------------------------------------------
E -------------------------------------------------

The D major scale on the second string.

The starting note (the lowest note on the scale) occurs on the third fret. Play
the notes up from this note.
E -------------------------------------------------
B ----3---5---7---8---10---12---14---15-----
G -------------------------------------------------
D ------------------------------------------------
A -------------------------------------------------
E -------------------------------------------------

The B major scale on the third string.

The B note occurs on the fourth fret of the third string. That is the starting
note of your scale.
E -------------------------------------------------
B -------------------------------------------------
 G --4--6--8--9--11--13--15--16--------------
D ------------------------------------------------
A -------------------------------------------------
E -------------------------------------------------
By now, you must have noticed that the major scale follows a specific
interval pattern. The notes remain arranged with a typified gap between them.
RWWHWWWHO
R is the root note of the scale. W represents a whole step consisting of two
frets, while H is one half-step or one fret alone. O is the octave note, which is
the same note as the root but has a higher pitch. You can use a formula to get
the major chord of any root note.
For the sake of convenience, we give various scales on the other strings as
well. Practice them until you know the notes on each string by heart.

The E major scale on the fourth string.

The E major occurs on the second fret of the fourth string. Start your scale on
this note.
E -------------------------------------------------
B -------------------------------------------------
G -------------------------------------------------
D ----2--4--6--7--9--11--13--14--------------
A -------------------------------------------------
E --------------------------------------------------
Remember to keep time and play the notes down to the starting note
(descending scale) each time.

The A major scale on the fifth string.

Now we play the A major scale on the A string beginning from the open note.
E ---------------------------------------------------------------------
 B ---------------------------------------------------------------------
G ---------------------------------------------------------------------
D ---------------------------------------------------------------------
A ----0--2--4--5--7--9--11--12---12--11--9--7---5---4--2--0---
E ----------------------------------------------------------------------
We can also play this scale on three strings in the following way.
E ---------------------------------------------------------------------
B ---------------------------------------------------------------------
G ----1--2------------------------------------------------------------
D ---0--2---4--------------------------------------------------------
A ----0--2---4--------------------------------------------------------
E ----------------------------------------------------------------------
Note that the first half step occurs after we play the fourth fret on the fifth
string, and the second half step is on the third string after we play the first
fret. We do not play the open string notes on this string. After you play the
ascending scale, play the notes down to the starting point that is the
descending scale.
 Chapter 13

Some Other Scales

for You to Play

Try some major scales on the specified strings. Playing them will help you
become familiar with the notes on the fingerboard.

The F major scale

We play two octaves of the F major scale starting from the sixth string. Here
is the tab for this.
E ---0----1----------------------------------------------------------
B --1----3----------------------------------------------------------
G --0----2----3----------------------------------------------------
D --0---2----3----------------------------------------------------
A ---0---1----3----------------------------------------------------
E ---1----3---------------------------------------------------------
The tab for the descending scale will have representation like this:
E ----1---0------------------------------------------------------------
B ----3---1------------------------------------------------------------
G ----3--2----0-------------------------------------------------------
D ---3--2-----0------------------------------------------------------
A ----3--1-----0------------------------------------------------------
E -----3----1----------------------------------------------------------
The notes of the F major scale are FGAA#CDEF.
We can combine the tablature of both the ascending and descending scales
and write it like this:
E ------0---------------------1---------------0-----------------------
B --1---------3--------------------------3---------1-----------------
G --0-----2------3--------------------3--------2----------0----------
D --0-----2-------3-----------------3----------2-----------0---------
A ---0-----1---------3------------3-----------1--------------0-------
E ---1----3------------------3-----------------------------------1----
Start with the sixth string E and play the first two notes on the left side. Then,
play the notes on the left side of the fifth string A from left to right. In this
manner, play all the strings up to the first string. On this string, play all the
notes right up to the end. Then, play the notes on the right side of each string
from left to right. Don't play the notes you have already played given on the
left side. Play the notes all the way down to the sixth string.

The G major scale.

Now that you are familiar with tab notation let us play a few more scales.
Given below is the tab for the G major scale.
E -----------0---------2-------3-----------2-----------0-------------
B ---------1---3---------------------------3-------------1-----------
G ---------0---2----4-------------4---------2------------0----------
D ------0-----2------4-------------4-----------2--------------0-----
A -----0-------2--------3---------3------------2---------------0---
E ----3----------------------------------------3----------------------
The notes in this scale are GABCDEF#G. The octave notes are on the sixth
string and the third open string note. The top octave note is on the first string
on the third fret. You can see this as the center note on the top string.

The A major scale.

For the A major scale, we see ABC#DEF#G#A are the notes.
 E ----------2--4---5---------4-----------------2---------------------
B ---------2---3-----5--------------5---------3--------2------------
G -------1-----2------4----------4------------2-----------1---------
D ----2-------------4------------4---------------2-------------------
A ----2-------4---------5--------5----------4---------2---------
E ---5--------------------------------------------------5----------
Remember to start from the sixth E string, play the notes on the left from left
to right and move up to the next string on top. When you come to the first
string, play all the notes there from left to right. Then, drop to the second
string and play the notes on the right side from left to right. In this way, play
all the notes up to the sixth string.

The B major scale.

In the B scale, the notes are BC#D#EF#G#A#B. Here is the tab for the B
major scale. We find the starting note on the sixth string on the seventh fret.
E -------------4------6-----7--------6--------4---------------------
B ---------------5-----7---------------7---------5------------------
G ----------6-----8---------------------8---------6-----------------
D ------6----8-----9---------------9--------8--------6-------------
A ---------6------7-----9------------9---------7--------6----------
E ---------------7----9------------------9---------7-----------------
We could also play the scale on the middle four strings like this:
E ------------------------------------------------------------------
B ----------------------------0-------------------------------------
G -------1-----3--------------------3-------1-------------------------
D ---1------2------4---------------------4-----2-----1---------------
A --------2------4------------------------------4-----2---------------
 E ----------------------------------------------------------------------

The D major scale.

For the D major scale, we have DEF#GABC#D notes. The starting note of
this scale is on the tenth fret of the sixth string. The tab will have this
representation:
E ---------7---------9----------10------------9--------7------------
B ------------8-----10---------------------------10-----8-----------
G --------7-------9-------11-----------11--------9--------7--------
D -----7-------9------11-------------11------------9-------7------
A ---7------9----10-------------10----------------9---------7-----
E ------------10---------------------------10----------------------
Play from the bottom E string, from the left, and go up the strings. When you
reach the top e string, play all the notes and then descend using the notes on
the right side of the string. It is a useful practice to say the notes as you play
them. This will help you remember them.

The E major scale.

The notes of the E major scale are EF#G#ABC#D#E. We can play the open
string notes on the first three frets. The starting note will be the open string
note of the sixth string.
E -------------------------------0------------------------------------
B ---------0---------2--------4-------4--------2-------0-----------
G -----------1----------2-----------------------2--------1----------
D -------1---------2------4----------------4-------2--------1------
A -----0---------2---------4------------4-----------2---------0----
E ----0-------2-----------4-----------4--------------2---------0----
You can stop (or start) with the octave note on the fourth string (second fret).
Another way to play this scale is from the seventh fret of the fifth string. You
will not play the sixth string to begin.
 E -------7-----9-----11----------12--------11-----9----7-----------
B -------9------10---------------------10----9-----------------------
G -------8---9---------11-----------------11----9-----8-------------
D -------7------9--------11-------------------11-----9----7---------
A -----7-------9-------11-----------------------11-----9------7-----
E ----------------------------------------------------------------------
The idea is to become familiar with the notes so that you can identify any
note on the fretboard in an instant. You can also do this by writing down the
notes (as given below) on a piece of paper and learning them by heart.
EFF#GG#AA#BCC#DD#E - First string
BCC#DD#EFF#GG#AA#BE - Second string
GG#AA#BCC#DD#EFF#G - Third-string
DD#EFF#GG#AA#BCC#D -Fourth string
AA#BCC#DD#EFF#GG#A -Fifth string
EFF#GG#AA#BCC#DD#E - Sixth string
 Chapter 14

Keep Your Guitar in Tune

You can use many kinds of tunings, such as Open Dsus2, Drop D, Open D,
and Open C# tuning. You have to choose to tune according to your chosen
genre. For instance, if you listen to Dear Prudence by The Beatles, you will
notice (or not) that they use the Drop D tuning. Keith Richards tunes the
guitar to open G chord so that the open strings give you the G chord.
Whatever kind of tuning you use, it is essential to have the guitar strings
sound as they should. This is possible with the two methods given here.

Fifth fret tuning method.

This is the most commonly used technique to tune your guitar. The notes
from the sixth string onward have a relationship to the string next to it. That
means, if you play the fifth fret on the sixth string, it gives the note of the
open fifth string. You can go like this up to the third string. Here the fourth
fret gives the open note of the second string. Again, the fifth fret of the
second string gives the note of the first string. This is a practical method of
tuning your guitar.

Use of pitch pipes.

Get yourself a set of six pitch pipes that give you the pitch of the strings
when you blow on them. You can also use the internet to get the pitch. You
blow on the pitch pipe and set your string to that pitch. This is simple, and
you can use it if you have the pipes or have access to the internet.
Practice Fundamentals
Start on the right foot. Ideally, you should have enough practice in all
departments of guitar play. This means playing the chords, practicing the
scales, and getting familiar with the riffs. You might want to do some
individual lead playing if you like it. When you start, you will not have
enough coverage in all the needed skills.
To do justice to the time you spend with your guitar, get organized. Form a
breakup of the time you spend in this way:
Scales practice - 15 minutes.
Project (learning a new song or riff) - 40 minutes.
Learn new chords - 20 minutes.
Brush up on music theory - 15 minutes.
Fingering and ear practice - 10 minutes.
Notes on your progress.

Do what you know, it may not be much but keep a record always. This will
tell you when you are doing great and when you are losing interest and ready
to drop off.
Always Keep Time
Count 1 2 3 4 (or 1 2 3) when you play your guitar. Only when you play with
time will the sounds harmonize. You will easily make out when the strings
are out of tune and when you play a false note. Though this seems silly and
easy, it is the most important thing about the learning process. You have
strumming and note playing exercises that you can use to develop your sense
of timing.
Choose One or Two Songs You like
Aim to play the songs you admire the most. It might be a song sung by your
favorite musician or a song you have in your song collection. After you
master those songs, start your practice sessions with those two or three songs.
It will help you keep you on track with your learning process.
After that, try to pick out the bigger things like different modes and complex
chords. You might have to download the best songs from the internet. The
jazz song websites or the ones having the best rock songs for download are
easy to find. Keep those songs ready, so you can listen and play them. In
time, you will be able to compose your songs and sing them with your band.
Set a Time for Your Practice
Unless you have the time to practice, you are going nowhere. At the start, you
will find that squeezing 10 minutes out of your daily routine is difficult. In
time, you can play the guitar on the go, when you enter your room or can
spare ten minutes.
By setting aside 10 minutes (or half an hour) daily, you will improve your
time scheduling and improve your lifestyle quotient. But there must be an
effort if you want to see the result. Also, rotate the practice such that you play
the scales on the first day, chords on the second, and riffs on the third day.
Keep the time written down so that you don't clash with your schedule.
 SECTION V
LEARNING THE PATTERNS
 Chapter 15

Pattern for Major Chords

on the Fretboard

Another way to learn the magic of chords is to memorize their patterns.

Though this is a bit laborious, it has its advantages. You can fly all over the
fingerboard without any restrictions. It will help you develop riffs that are out
of the world in the likes of Mark Knopfler. And, you will not have to learn all
the patterns for all the chords, but we give them here for convenience. We
begin with the patterns for E. All patterns are for the notes of the chord up to
the fourteenth fret. Breaking up the pattern for the entire fourteen frets into
smaller bits covering 4-5 frets makes it easier to remember them. But, you
can also learn the pattern for the entire range given at the end.

The first fretboard pattern for E

This covers the notes on frets from six to nine. Learning this pattern helps
you recognize the notes instantly and play them with ease. The E major
Arpeggio notes are E G# B. The triad intervals are 1 3 5.
There is only one note on the sixth fret, and that is on the fourth string. Other
than this, we play six notes. The first set includes the three notes on the
second, third, and fourth strings on the ninth fret. The next is the set of three
notes on the seventh fret on all the strings except the second, third, and
fourth.
The octave note is on the seventh fret fifth string and the ninth fret third
string.

The second fretboard pattern for E

This covers the notes from frets seven to twelve. We have three root notes in
this range. The first is on the fifth string seventh fret. The next is on the third
string ninth fret, while the third is on the first string twelfth fret.
We have eight notes with one each on the eleventh and twelfth frets. They are
on the fifth string eleventh fret and the first string twelfth fret. The three notes
on the seventh fret are on the first, fifth, and sixth strings. We do not play
these strings (play the other three) on the ninth fret.

The third fretboard pattern for E

This pattern ranges from the ninth to the twelfth frets. The root notes are on
the first string and sixth strings of the twelfth fret and the third-string ninth
fret.
We have seven notes in this pattern. The ninth fret has three notes (you know
them by now) on the second, third, and fourth strings. The three notes on the
twelfth fret are on the first, second, and sixth strings. Other than this, we have
one note on the eleventh fret on the fifth string.

The fourth fretboard pattern for E

This pattern covers the frets from eleven to fourteen. Again we have three
root notes. Two root notes are on the twelfth fret on the first and sixth strings.
The third one is on the fourteenth fret fourth string.
In this pattern, we see seven notes. As we have already seen, the twelfth fret
has three notes on the first, second, and sixth strings. Other than this, we have
two thirds on the third-string thirteenth fret and the fifth string eleventh fret.
The remaining two notes are on the fourteenth fret on the fourth and fifth
strings.

The fifth fretboard pattern for E

We have notes for this pattern on the frets from two to seven. There are two
root notes one on the second fret fourth string and the other on the second
string fifth fret.
We have three single notes on the fifth, sixth, and seventh frets. There are
three notes on the fourth fret and two notes on the second fret. The second
fret strings are four and five. The fourth fret strings are one, three, and six.
The fifth fret note is on the second string, the sixth fret note is on the fourth
string, and the seventh fret note is on the first string.

The full fretboard pattern for E

Though this is vast, one should get used to it with a little practice. We will
cover the frets from the first to the fourteenth frets. There are seven root notes
with one on each string and two on the fourth string.
For the first and the sixth string, the root note is on the twelfth fret. The root
note on the fifth string will be on the seventh fret. On the fourth string, the
two notes are on the second and fourteenth frets. The third-string has the root
note on the ninth fret, and the second string has it on the fifth fret.
Four frets have three notes each. Five frets have single notes, and two frets
have two notes each. The frets having three notes are four, seven, nine, and
twelve. The notes are on the first, third, and sixth for the fourth fret. For the
seventh fret, they are on the first, fifth, and sixth strings. On the ninth fret,
they are on the second, third, and fourth strings. For the twelfth fret, they are
on the first, second, and sixth strings.
The two-note frets are two and fourteen (the fourteenth repeats the notes of
the second fret because it is an octave 2+12). They are on the fourth and fifth
strings. The single notes are on the fifth string eleventh fret, fourth string
sixth fret, third-string first fret and thirteenth fret, and second string fifth fret.
 Chapter 16

Playing the Notes

of the C Major Scale

The notes of the C triad are C E G with the note interval 1 3 5. The first note
is the first degree of the scale, and the second note is the second degree of
that scale. The third note is the third degree or simply the third. So, the first,
third, and fifth degrees of the scale are 1 3 5 or C E and G. We can flatten the
note if required by that scale, and we will see that in the coming chapters.
Suppose we flatten the third degree of the C scale, the note is b3 or D#. It will
belong to the C minor scale. We will see the minor scales later on. The notes
of the C major arpeggio (notes of a chord played rapidly in ascending or
descending fashion). Here we have notes up to the fifteenth fret.

The first fretboard pattern for C

This pattern ranges from frets two to five. The fourth fret has no notes. On
the second fret, we have one note on the fourth string. On the third and fifth
frets, we have three notes each. On the third fret, the notes are on the first,
fifth, and sixth strings. The notes on the fifth fret are on the second, third, and
fourth strings.
There are two-octave notes on the third fret fifth string and the third-string
fifth fret.

The second fretboard pattern for C

In this pattern, we see the notes spread out from frets three to eight. There are
three-octave notes present. The first is on the third fret fifth string, and the
second is on the third string fifth fret. The third is on the eighth fret of the
first string.
This pattern has two frets with three notes each and two frets with one note
each. The single notes are on the eighth fret first string and the fifth string
seventh fret. The three notes are on the fifth fret second, third, and fourth
strings and the third-string first, fifth, and sixth strings.

The third fretboard pattern for C

Here we have only seven notes and two octaves. The octave notes are on the
first and sixth strings of the eight fret and the third-string fifth fret.
The notes from the fifth to the eight frets remain covered. On the fifth fret, if
you remember, the notes are on the second, third, and fourth strings. On the
eight frets, the notes are on the first, second, and sixth strings.

The fourth fretboard pattern for C

This pattern covers the notes from seven to ten. Again, we have two full
octaves. The first begins on the sixth string eight frets and ends on the fourth
string tenth fret. From there, the next octave begins and goes up to the first
string eighth fret.
We have one note each on the seventh and ninth frets. The note on the
seventh fret is on the fifth string. The one on the ninth fret is on the third
string. There are three notes on the eighth fret on the first, second, and sixth
strings. We see two notes on the tenth fret on the fourth and fifth strings.

The fifth fretboard pattern for C

The notes of this pattern stretch from the tenth to the fifteenth frets. There is
one note each on the frets thirteen, fourteen, and fifteen. The twelfth fret has
three notes, and the tenth fret has two notes.
The notes on the tenth fret are on the fourth and fifth strings. The three notes
on the twelfth fret are on the first, third, and sixth strings. On the fifteenth
fret, the note is on the first string. On the fourteenth fret, the note is on the
fourth string, and the note on the thirteenth fret is on the second string.
The octave begins from the fourth string tenth fret and ends on the thirteenth
fret second string.

The sixth fretboard pattern for C

This pattern has notes from the twelfth to the fifteenth frets. We have eight
notes with two frets having three notes and two frets having a single note
each.
The three notes on the twelfth fret are on the first, third, and sixth strings.
Those on the fifteenth fret are on the first, fifth, and sixth strings. The lone
notes are on the second string thirteenth fret and the fourth string fourteenth
fret.
The octave begins from the fifteenth fret of the fifth string and ends on the
thirteenth fret second string.

The full fretboard pattern for C

For those who wish to memorize the entire pattern, here it is. There are eight
root notes with one on each string and two each on the second and fifth
strings. Memorizing the entire thing gives you magical movement over the
entire fretboard so you can play mesmerizing leads with ease.
The root note on the first string is on the eighth fret. Those on the second
string are on the first and thirteenth frets (1+12). For the third string, it is on
the fifth fret, and for the fourth string, it is on the tenth fret. The fifth string
has the root notes on the third and fifteenth frets. On the sixth string, the
octave note is on the eighth fret. Above and below the eighth fret, we have
three root notes each.
We have six frets with one note each and five frets with three notes each.
There are two notes on the tenth fret on the fourth and fifth strings.
 Chapter 17

Playing the Notes

of the A Major Scale

The notes of the A major arpeggio are A C# E with the note interval 1 3 5. If
you feel confident enough, go straight to the full fretboard pattern. If not,
play the smaller parts and then move onto the full pattern. The notes spread
out from the second to the fifteenth frets.

The first fretboard pattern for A

This pattern covers the frets from eleven to fourteen. There are seven notes
with two-octave notes. The octave notes occur on the twelfth fret fifth string
and the fourteenth fret third string.
We have three notes each on the twelfth and fourteenth frets. There is one
note on the eleventh fret fourth string. The three notes on the fourteenth fret
are on the second, third, and fourth strings. Those on the twelfth fret are on
the first, fifth, and sixth strings.

The second fretboard pattern for A

We have eight notes in this pattern. It stretches from the twelfth to the
seventeenth fret. Two frets have three notes each, and two have one note
each. You can play two full octaves beginning with the twelfth fret fifth
string. The next octave note occurs on the third-string fourteenth fret. The top
note is the seventeenth fret first string.
There are three notes on the twelfth fret on the first, fifth, and sixth strings.
We also have three notes on the fourteenth fret on the second, third, and
fourth strings. The single note on the sixteenth fret occurs on the fifth string,
and that on the seventeenth fret is on the first string.

The third fretboard pattern for A

The notes of this pattern occur on frets two to five. There are three notes each
on the second fret and fifth fret. We also see one note on the fourth fret on the
fifth string.
The three notes on the second fret are on the second, third, and fourth strings.
Those on the fifth fret are on the first, second, and sixth strings. The octave
notes occur on the first and sixth strings on the fifth frets; the third-octave
notes occur on the fourth fret third string.

The fourth fretboard pattern for A

The pattern ranges from frets four to seven. We can play two full octaves
beginning from the fifth fret on the sixth string up to the seventh fret on the
fourth string. The top octave note is on the first string on the fifth fret.
We have one note on the fourth fret fifth string and one on the sixth fret third
string. Other than that, we have three notes on the first, second, and sixth
strings and two notes on the seventh fret on the fourth and fifth strings.

The fifth fretboard pattern for A

Here we cover the notes from the seventh to the twelfth frets. We can play
one octave beginning from the seventh fret fourth string and finishing on the
tenth fret second string.
The two notes on the seventh fret are on the fourth and fifth strings. We have
one note each on frets ten, eleven, and twelve. These are on the second string
(tenth fret), fourth string (eleventh fret), and the first string (twelfth fret). You
see three notes on the ninth fret over the first, third, and sixth strings.

The sixth fretboard pattern for A

This pattern has notes on frets nine to twelve. We have one octave beginning
from the twelfth fret of the fifth string and ending on the tenth fret of the
second string.
Two frets have three notes each, and two have one note each. The single
notes are on the tenth fret second string and the eleventh fret fourth string.
The ninth fret has three notes on the first, third, and sixth strings. We have
three more notes on the twelfth fret on the first, fifth, and sixth strings.

The full fretboard pattern for A

In the full fretboard pattern, we have five frets with three notes, one fret with
two notes, and four frets with four notes. The two notes occur on the seventh
fret on the fourth and fifth strings. The single note frets are the fourth on the
fifth string, the sixth fret on the third string, tenth fret the second string, and
eleventh fret the fourth string.
On the second and fourteenth frets, we have three notes on the second, third,
and fourth strings. The fifth fret has three notes on the first, second, and sixth
strings. The ninth fret has notes on the first, third, and sixth strings. When we
come to the twelfth fret, the notes are on the first, fifth, and sixth strings.
The octave notes occur once on each of the strings and twice on the third
string. The second string has the octave notes on the second and fourteenth
frets. On the first string, it occurs on the fifth fret, on the second string, it is
on the tenth fret, and the fourth string it is on the seventh fret. The last two
octave notes occur on the fifth string on the twelfth fret and the sixth string
on the fifth fret.
 Chapter 18

Playing the Notes

of the G Major Scale

The next pattern you have to learn is that of the G major scale. The notes of
the G arpeggio triad are G B D. You already know how to play the open
string G major chord. Here we have notes from frets five to ten. The G major
scale notes are G A B C D E F#. For the chord, we play only the triad notes 1
3 5. Here they are G B D. In the key signature; we see only one sharp. The
scale intervals are W W H W W W H. Here are the patterns for the arpeggio.

The first fretboard pattern for G arpeggio

In this pattern, we cover the notes from frets number nine to twelve. This has
one octave beginning from the tenth fret of the fifth string and finishing on
the twelfth fret of the third string.
This pattern has seven notes with one note in the ninth fret on the fourth
string. The tenth fret has three notes on the first, fifth, and sixth strings. There
are three notes on the twelfth fret on the second, third, and fourth strings.

The second fretboard pattern for G arpeggio

We cover the notes from the tenth to the fifteenth frets in this pattern. We
have eight notes in this pattern with two sets, each of three notes and single
notes. The single notes occur on the fifteenth fret first string and the
fourteenth fret fifth string.
The three-note sets occur on the tenth and twelfth frets. On the twelfth fret,
we have notes on the second, third, and fourth strings. For the tenth fret, the
notes are on the first, fifth, and sixth frets. The octave begins on the tenth fret
fifth string and goes up to the twelfth fret third string. From there, it goes on
until the fifteenth fret first string.

The third fretboard pattern for G arpeggio

The notes of this pattern are from the twelfth fret to the fifteenth fret. There
are seven notes spread over two octaves. The octave notes occur on the first
and sixth strings of the fifteenth fret and the third-string of the twelfth fret.
The three notes of the twelfth fret are on the second, third, and fourth strings.
There is one note on the fourteenth fret of the fifth string. The fifteenth fret
has three notes on the first, second, and sixth strings.

The fourth fretboard pattern for G arpeggio

We have notes from frets two to five in this pattern. Again, we have seven
notes spread over two octaves. The first octave begins on the sixth string
third fret and finishes on the fourth string fifth fret. The top note is on the
third fret of the first string.
There are two single notes on the second and fourth frets. On the second fret,
this is on the fifth string, and the fourth fret is on the third string. The three
notes on the third fret are on the first, second, and sixth strings. The fifth fret
has notes on the fourth and fifth strings.

The fifth fretboard pattern for G scale

The notes here range from frets three to eight. The octave notes are on the
third fret sixth string, fourth string fifth fret, and the second string on the
eighth fret. We have two notes each on the frets three, four, and eight. We
play all the notes on the fifth and seventh frets.
On the third fret, the notes are on the fifth and sixth strings. The fourth fret
notes are on the middle two strings while those on the eighth fret are on the
first two strings. Note that this is not the arpeggio pattern but the scale
pattern. For the arpeggio, play only the G B D notes.

The sixth fretboard pattern for G scale

Here again, we play the complete notes of the scale. The octave notes are on
the fifth fret fourth string, and eighth fret the second string. The notes remain
spread over the frets five to ten.
We play all the notes on the fifth string except for those on the first two
strings. On the tenth fret, we play the first two strings. We play all the notes
on the seventh fret. On the eighth fret, the notes are on the first, second, and
sixth strings. While on the ninth fret, the notes are on the third, fourth, and
fifth strings.

The full fretboard pattern for G scale

We start from the third fret and play the notes up to the fourteenth fret. The
notes begin to repeat the same pattern from the twelfth fret (0+12). So you
will have the same pattern on the thirteenth fret that you have on the first fret.
On the first fret, we play the first, second, and sixth strings. We play all the
notes on the open string, fifth, seventh, and twelfth frets. We have five notes
on the tenth fret (all strings except the third) and five on the second fret (all
strings except the second). On the third fret, we play the top and bottom two
strings. The fourth fret has notes on the middle two strings. We have three
notes on the eighth fret on the first, second, and sixth strings. The ninth has
the third, fourth, and fifth strings. And, the eleventh fret, we have the third-
string alone.
 Chapter 19

Playing the Notes

of the E Major Scale

The key signature of the E major scale has four sharps. The major scale notes
are E F# G# A B C# D#.

The first E major fretboard pattern

Here, the notes are on frets four to seven. The octave starts on the seventh fret
fifth string and ends on the fifth fret second string.
We play all the notes on the fourth fret. On the fifth fret, we play the first,
second, and sixth strings. The sixth fret has notes on the third, fourth, and
fifth strings. On the seventh fret, we play all strings except the third string.
If we use three notes per string pattern, the first two strings will have notes on
frets five, seven, and nine. The fourth and fifth strings have notes on frets
four, six, and seven. The third-string has notes on frets four, six, and eight,
and the sixth string has notes on four, five, and seven.

The second E major fretboard pattern

In this, the notes are from the seventh fret to the eleventh fret. The octave
notes are on the seventh fret fifth string and the ninth fret third string. On the
eighth and tenth fret, we have only one note each. The eighth fret has the note
on the third string, and the tenth fret has the note on the second string.
We play all the notes on the ninth fret. The seventh fret, all the strings except
the third remain included while on the eleventh fret, we play all except the
second string.
If we play three notes per string pattern, the fourth, fifth, and sixth string has
notes on the seventh, ninth, and eleventh frets. The first string has notes on
frets nine, eleven, and twelve. The second string has notes on nine, ten, and
twelve. On the third string, the notes are on the eighth, ninth, and eleventh
frets.

The third E major fretboard pattern

Here the notes are from the ninth to the thirteenth frets. The octave notes are
on the twelfth fret first and sixth strings and the ninth fret on the third string.
There are two single note frets, one with four notes, another with five notes,
and the third with six notes (all strings).
We play all the strings on the ninth fret and all except the second on the
eleventh fret. The twelfth fret has all except the middle two strings. The tenth
fret second string and the thirteenth fret fourth string are the single notes.
Let us consider three-note strings. The fifth and sixth string has notes on the
frets nine, eleven, and twelve. The notes on the third and fourth strings are on
the ninth, eleventh, and thirteenth frets. Frets on the first string are eleven,
twelve, and fourteen, while those on the second string are ten, twelve, and
fourteen.

The fourth E major fretboard pattern

This pattern has notes from eleven to fourteen frets. The octave notes are on
the twelfth fret first and sixth strings and the fourteenth fret fourth string.
We play all the notes on the fourteenth fret and all the strings except the
second on the eleventh. Notes appear on the top two and bottom two strings
of the twelfth fret and the middle two strings of the thirteenth.
The three notes per string have notes on the twelfth, fourteenth, and sixteenth
frets on the first two strings. On the next two, the notes appear on the
eleventh, thirteenth, and fourteenth. The fifth and sixth strings have notes on
the eleventh, twelfth, and fourteenth frets.

The fifth E major fretboard pattern

In this pattern, we see notes spread out from the first to fifth frets. The octave
begins on the second fret fourth string and ends on the fifth fret second string.
There are no frets with single notes here.
We have the middle two strings on the first fret. We play all the strings on the
second and fourth frets. On the fifth fret, we play the first two strings and the
last string.
The start of the three-note pattern is from the second fret and ends on the
seventh fret. For the first two strings, the notes are on the frets four, five, and
seven. The next three strings have notes on two, four, and six. For the sixth
string, the notes are on two, four, and five.

The full E major fretboard pattern

The twelfth fret is a repeat of the open string so that the second fret notes will
be the same as those on the fourteenth fret (2+12). Here we cover the notes
up to the thirteenth fret.
The first and thirteenth fret have two notes on the middle two strings. The
frets two, four, and nine have all the notes; we play all the strings. On the
fifth and sixth frets, we have three notes each. The fifth fret has the first,
second, and sixth strings while the sixth fret has the third, fourth, and fifth
strings. We play all the notes except the third on the seventh fret and except
the second on the eleventh. The twelfth fret will not have the middle two-
string notes. Single notes occur on the eighth fret third string and the tenth
fret second string.
 Chapter 20

Playing the Notes

of the D Major Scale

The notes of the D major scale are D E F# G A B C#, and the triad notes are
D F# A. We play the triad notes for the arpeggio. We see two sharps in the
key signature of the D major scale. The notes range from the second fret to
the seventeenth.

The first D major fretboard pattern.

Here we have notes from frets two to five. The octave notes are from fifth fret
fifth string to the third fret second string.
We play all the notes on the second fret. On the third fret, the notes are on the
first, second, and sixth string. On the fourth fret, the notes are on the third,
fourth, and fifth strings. And on the fifth fret, we play all the strings except
the third.
For the three-note pattern, we play the frets three, five, and seven on the first
two strings. The third-string has the notes on frets two, four, and six. On the
fourth and fifth strings, the notes are on two, four, and five. The sixth string
has notes on the second, third, and fifth frets.

The second D major fretboard pattern.

In this pattern, we have notes from the frets five to nine. The octave begins
on the fifth fret fifth string and ends on the seventh fret third string.
All the strings remain included on the seventh fret. On the fifth fret, we play
all strings except the third. And, on the ninth, we play all the notes except the
second and third strings. Note that we can play E on the second string fifth
fret or the third-string ninth fret. We have two single notes, one on the sixth
fret third string and another on the eighth fret second string.
The three-note pattern has notes on the fourth, fifth, and sixth strings on the
fifth, seventh, and ninth frets. The first string has notes on frets seven, nine,
and ten. For the second string, the notes are on frets seven, eight, and ten
while the third-string has the notes on frets six, seven, and nine.

The third D major fretboard pattern.

In this pattern, the notes spread from frets seven to eleven. The octave notes
are on the tenth fret first and sixth strings and on the seventh fret third string.
There are two frets with single notes; the other frets have four, five, and six
notes.
The single notes are on the eighth fret second string and the eleventh fret
fourth string. The tenth fret has the top two and bottom two strings. The ninth
fret has all the strings except the second, and the seventh has all the strings.
The three-note patterns for all strings have frets nine, ten, and twelve on the
first string and eight, ten, and twelve on the second string. The third and
fourth strings have notes on the seventh, ninth, and eleventh frets. On the
fifth and sixth strings, the notes are on the seventh, ninth, and tenth frets.

The fourth D major fretboard pattern.

In this pattern, we have notes from the frets nine to twelve. The octave notes
are on the tenth fret first and sixth strings and the twelfth fret of the fourth
string.
All the notes on the twelfth fret remain included in this pattern. On the ninth
fret, we have all the strings except the second. On the tenth fret, we have the
top two and bottom two strings, and on the eleventh fret, we have the middle
two strings.
For the three-note per string pattern, we have notes on the frets ten, twelve,
and fourteen on the first two strings. On the next two strings, the notes are on
nine, eleven, and twelve. On the fifth and sixth strings, the notes are on nine,
ten, and twelve.

The fifth D major fretboard pattern.

Here is the pattern with notes on frets from eleven to fifteen. The octave
begins on the twelfth fret fourth string and ends on the fifteenth fret second
string.
All the notes on the twelfth and fourteenth frets remain included. We have the
two middle strings on the eleventh fret. On the fifteenth fret, we have the
first, second, and sixth strings.
In the three-note pattern, the first two strings have the notes on the twelfth,
fourteenth, and fifteenth frets. The third and fourth strings have notes on the
eleventh, twelfth, and fourteenth frets. And, the fifth and sixth strings have
notes on the tenth, twelfth, and fourteenth frets.

The full D major fretboard pattern.

Notes on the fretboard repeat after twelve frets. So, the notes on the third fret
will resemble those on the fifteenth fret. Here we give the notes up to the
thirteenth fret.
We have all the notes on the open strings and the second fret. Also, we have
all the notes on the seventh, twelfth, and fourteenth frets. On the fifth fret, we
have all the strings except the third, and on the ninth fret, we include all the
strings except the second. For the tenth fret, we include the top two and
bottom two strings. On fret eleven, we have the middle two strings.
On fret eight, we have a single note on the second string while on fret six, the
line note is on the third string. The fourth fret has notes on the third, fourth,
and fifth strings. And on the third fret, we play the first, second, and sixth
strings.
 SECTION VI
MORE CHORDS AND PATTERNS
 Chapter 21

Minor, Sixth, and Seventh Chords

The Minor Chord

We build the minor chord on the major chord by lowering the third. You
already know the note interval of the major scale is 1 3 5. For instance, the C
major scale has the notes C D E F G A B so that the first note is C (the root
note), the third note is E, and the fifth note is G. To get the minor note, we
lower the third by one fret. That is, we flat E to get D#. The notes of the
minor scale become 1 b3 and 5 or C D# G.
As per the music theory, the intervals in the minor scale is WHWWHWW.
Notes of the C minor scale are these: C D D# F G G# A# C. The second and
fifth notes after the root note are only one step away from the previous one.
After the second note D, the third one is half a note away, and we get D#. In
the same way, the fifth note G# is one fret above the previous note G.

Types of Minor Chords

In the minor chords, there are three types - Natural, Harmonic, and Melodic.
First, the Natural minor scale is what we have seen already. It has the interval
W H W W H W W H. The notes of the C minor scale are as discussed C D
D# F G G# A# C. In the Harmonic minor; we raise the seventh note of the
minor scale by a half step. So, the notes become C D D# F G G# B C.
In the Melodic minor, the notes as we go up and descend the scale differ. So,
we use one set of notes to go up and another set of notes to descend the scale.
In the Melodic C minor scale, the ascending notes are C D D# F G G# B C,
and while descending, they are C D D# F G G# A# C.
Play the C Minor Chord
We discuss the basic chord and its first inversion. First, the basic chord is by
putting a barre on the third fret with your forefinger and placing your second
finger on the fourth fret of the second string. Your third and fourth fingers
will go on the fourth and third strings on the fifth fret. The notes of this chord
are C D# G.
The next version is easy to play because it involves only three strings. Put
your first finger on the second string first fret and your second finger on the
first fret of the fourth string. Play only the second, third, and fourth strings.
Play the D Minor Chord
The notes of the D minor chord are D F A. One way to play this is on the first
four strings alone. On the first string on the first fret, your first finger goes.
Your second finger goes on the second fret third string, and the third finger
goes on the third fret of the second string. Leave the fourth string open. Do
not play the fifth or sixth strings.
Another way to play this chord is with a barre (or capo) on the fifth fret. Put
your second finger on the second string of the fifth fret. The third and fourth
fingers go on the fourth and third strings of the seventh fret.
Play the E Minor Chord
The notes of E minor chord are E G B. Put your second and third fingers on
the fifth and fourth strings on the second fret. Leave all the other strings
open. Play all the strings.
The next way to play this chord is by putting your first finger on the third fret
of the first string and your second finger on the third string fourth fret. Your
third and fourth fingers go on the fourth and second string on the fifth fret.
Play the F Minor Chord
The notes of this chord are F Ab C. Put your forefinger on the first fret
covering all six strings (you could also play just the first four strings alone in
which case you put your third finger on the third fret fourth string). Put your
third and fourth fingers on the fifth and fourth strings of the third fret.
Another way to play this is to place your first finger on the third fret of the
fourth string. The second finger goes on the first string fourth fret, and the
third finger goes on the third-string fifth fret. The fourth finger goes on the
sixth fret second string.
Play the G Minor Chord
The notes of this chord are G Bb D. The progressions for this chord for the
seven notes of the scale are like this:
Minor, diminished, Major, Minor, Minor, Major, Major.
G minor is the first chord of the root note. The associated chords are
Diminished, Bb Major, C Minor, D Minor, Eb Major, and F Major.
The first pattern to play the G minor chord is like this. Place a barre on the
third fret with your forefinger and put your third and fourth fingers on the
fifth and fourth strings on the fifth fret. Play all the strings.
The next way to play it is to put a barre for the first five strings on the tenth
fret and place your second finger on the eleventh fret on the second string.
Your third and fourth fingers go on the fourth and third strings on the twelfth
fret. Do not play the sixth string.
Play the A Minor Chord
Here we have A C E as the notes in this chord. We can play the open string
chord with three fingers in this way. Your note on the first string is on the
second fret, play this with your first finger. Your second and third fingers go
to the fourth and third strings on the second fret. Play only the first five
strings; do not sound the sixth string.
Another way to play this chord is to place a capo (barre) on the fifth string.
Put your third and fourth fingers on the fifth and fourth strings on the seventh
fret. You can play all the strings.
Play the B Minor Chord
The notes of this chord are B D F#. The first pattern starts on the second fret,
and we play it on the first four strings. Put your first finger on the first string
on the second fret. Your second finger goes on the second string third fret.
The third and fourth fingers go on the fourth and third strings of the fourth
fret.
We can also play this chord on the seventh fret using a barre. When we use
the barre, we can move the chord to another place on the fretboard, and so
they have the name movable chords. We call open string chords fixed chords.
After you put a barre or a capo on the seventh fret, place your third and fourth
fingers on the fifth and fourth strings. Play all the strings.
You can get the sharp note chords by moving up (or down) one fret. For
instance, we get the G# minor chord by moving the G minor chord up by one
fret.

Learn to Play the Sixth Chords

When we add the sixth degree to a major triad, we get the sixth chord of that
root note. So, for the root note C, the major triad, which was C E G, now
becomes C E G A. In most cases, we play these chords in the open position.
The major sixth chord will have one major third, a root, a major sixth, and a
perfect fifth. We call the fourth and fifth notes of a major scale perfect notes
because they sound perfect. The interval notation is like this - 1 3 5 6. We use
this scale to play jazz music.

Play the C sixth chord.

The notes of this chord are C A G E. The simplest way to play the C sixth
chord is by placing your first finger on the first fret of the second string. Your
second and third fingers will go on the fourth and third strings on the second
fret, and the fourth finger will remain on the fifth string on the third fret. Play
only the first five strings.
Another way to play this chord is by putting your first finger on the first
string on the eighth fret. The second finger goes to the third-string on the
ninth fret. Your third and fourth fingers remain on the tenth fret on the fourth
and second strings.

Play the D sixth chord.

The notes of this chord are D A B F#. Play this chord by putting your second
finger on the third string second fret and your third finger on the first string
second fret. Leave the second and fourth strings open. Do not play the fifth
and sixth strings.
Another way to play this is to play on the middle four strings starting on the
third fret. Put your first finger on the second string third fret. Now, put your
second and third fingers on the fourth fret on the fourth and third strings.
Your fourth finger will go on the fifth string fifth fret.

Play the E sixth chord.

The notes of this chord are E B C# G#. Put a barre on the second fret for the
first four strings. Place your third finger on the fourth fret of the third string.
Do not sound the fifth or sixth strings.
Another way to play this is to put your first finger on the first fret of the third
string. The other three fingers go on the second fret. Your second, third, and
fourth fingers go on the fifth, fourth, and second strings. Play all the strings.

Play the F sixth chord.

The notes of this chord are F C D A (Move one fret up from the previous
chord). Put your first finger on the first fret on the first string. Your second
finger will go to the second fret of the third string. Place your third and fourth
fingers on the third fret on the fourth and second strings. Play only the first
four strings, do not play the two thick bass strings.
Another way to play this is by putting your first finger on the sixth fret
second string. Your second and third fingers go on the seventh fret on the
fourth and third strings. Place your fourth finger on the eighth fret fifth string.
Do not play the first and last strings.

Play the G sixth chord.

The notes of this chord are G B D E. Put your first finger on the fifth string
second fret and your first finger on the third fret sixth string. The third finger
will go on the second string third fret. Play all the strings.
The second way to play this is by putting your first finger on the first string
third fret and your second finger on the third string fourth fret. Place your
third and fourth fingers on the fourth and second strings fifth fret. Play only
the first four strings.

Play the A sixth chord.

The notes of this chord are A C# E F#. The first position has the first and
second fingers on the second fret on the third and second strings and the
fourth finger on the fourth fret on the fourth string. Play the first five strings
alone.
In the next position, we play all the notes of the first four strings. Use a barre
to play this. Do not play the sixth string when you play the chord.

Play the B sixth chord.

The notes of this chord are B D# F# G#. In the first position, we use a barre
over the first four strings on the fourth fret. We do not play the fifth or sixth
strings.
To play the second position, we play the first and second fingers on the first
fret fourth and third strings. The third and fourth fingers go to the sixth and
fifth strings on the second fret. We do not play the first and second strings.

Learn to Play the Seventh Chords

When we add the seventh note to the major triad, we get the seventh chord.
These chords have wide usage in all types of music, ranging from blues to
rock and pop.

Play the C7 chord

We have CEGB as the notes for this chord. To play the first position, we use
the first finger in the first fret on the second string and the second finger on
the fourth string second fret. The third and fourth fingers go to the fifth and
third strings on the third fret. We do not play the sixth string.
In the second position, we play a barre on the third fret for the first five
strings. The third and fourth fingers go on the fifth fret on the fourth and
second strings. Again, we do not play the sixth string.

Play the D7 chord

The notes of this chord are D A C F#. Put your forefinger on the first fret of
the second string. The second and third fingers go to the second fret on the
third and first strings. Leave the fourth string open. Play only the first four
strings.
Another way to play this chord is in the fifth fret. Use a barre on the first five
strings of the fifth fret. Put your third and fourth fingers on the fourth and
second strings, the seventh fret. Do not play the sixth string.

Play the E7 chord

The notes of this chord are E G# B D. In the first position; you put your first
finger on the first fret third string and your second finger on the second fret
fifth string. Leave all the other strings open. Play all the strings.
In the next variation (or inversion) of this chord, we put a barre on the
seventh fret and play the fourth and second strings with the third and fourth
fingers. You can also use the C7 chord shape on the fifth fret to get E7.

Play the F7 chord

This chord has the notes F A C D#. Put a barre on the first fret and hold the
third string on the second fret with your second finger and the fifth string
with your third finger on the third fret. You may also put your fourth finger
on the fourth fret of the second string.
Another way to play this is by putting your first finger on the second string of
the fourth fret and your second and third fingers on the fifth fret on the third
and first strings. Play only these three strings.

Play the G7 chord

The notes of this chord are G B D F. Put your first finger on the first string
first fret, the second on the second fret fifth string, and the third on the third
fret sixth string. Play all the strings.
The next way to play this is to put your second finger on the second fret of
the fifth string, your third and fourth fingers on the third fret on the fourth
and second strings. Play the middle four strings; do not play the top or bottom
strings.

Play the A7 chord

The notes of this chord are A C# E G. Put your second and third fingers on
the second fret on the fourth and second strings. Play the first five strings
alone.
You can also play this by putting a barre on the second fret and placing your
third finger on the first string third fret. Again, play the first five strings alone
- do not play the sixth string.

Play the B7 chord

The notes of this chord are B D# F# A. Put your first finger on the first fret
fourth string and your second, third, and fourth fingers on the second fret on
the fifth, third, and first strings. Leave the second string open. Do not play the
sixth string.
An alternative method of playing this chord by putting a barre on the second
fret and placing your third and fourth fingers on the fourth fret fourth and
second strings. Avoid playing the sixth string.
 Chapter 22

Learn Suspended Second

and Nine Sus4 Chords

We know the major scale pattern is 1 3 5. When playing the suspended

chords, the third gets left out and replaced by another note, usually the fourth.
In this case, the chord becomes the suspended fourth. But, it might get
replaced by the second also, and this is the sus2 chord. Another way to think
of this is that you play the regular major chord but lower the middle note by
two frets.
When you stack the root, third, fifth, seventh, and ninth notes of a major
chord, we get the ninth chord. When we play nine sus4 chords, the third gets
replaced by a perfect four. It is a useful chord to play when you have more
sevenths in the chord run. The diminished chord is another way to make a
change in the chord run.
To form the diminished chord, we combined the flatted third and flatted fifth
to the root, so the pattern becomes 1 b3 b5. For instance, when we play the C
diminished, we use Eb and Gb instead of the regular E and G along with C.
The notes of C diminished is C Eb Gb. This diminished chord has two
tritones. They exist between the diminished fifth and the first degree and the
diminished seventh and the third minor. It doesn't contain a fifth, and so they
produce an unsettling sound. By adding two minor thirds, we get the
diminished fifth.
So, the diminished seventh chord has the root, minor third, and diminished
fifth, and on top of this, we add the diminished seventh interval. The fully
diminished seventh has representation by the symbols dim7 or .

Learn to play C sus2

The notes in this chord are C G D. In the first position, we barre for the first
five strings on the third fret. Put the third and fourth fingers on the fourth and
third strings on the fifth fret. We do not play the sixth string.
We get an inversion of this by playing the fifth, second, and first string with
the second, third, and fourth fingers. We leave the middle two strings open.
There is no need to play the sixth string.

Learn to play D sus2

The notes of this chord are D A E. In the first position; we play the first five
strings by putting the first finger on the third string second fret and the third
finger on the second string third fret. We play all the strings except the sixth.
The inversion of this is easy to play. Put a barre on the fifth fret and place the
third and fourth fingers on the fourth and third strings of the seventh fret. We
play all the strings.

Learn to play E sus2

The notes of this chord are E B F#. One way to play this is by putting your
first finger on the second fret fifth string and your third and fourth fingers on
the fourth and third strings on the fourth fret. Play all the strings.
We get one inversion of this chord by putting a barre on the second fret for
the first five strings. Put your third finger on the fourth fret of the third string
and your fourth finger on the fifth fret of the second string. You can play all
the strings.

Learn to play F sus2

The notes of this chord are F C G. Put a barre on the eighth fret for the first
five strings. Put your third and fourth fingers on the fourth and third strings
on the tenth fret. Do not play the sixth string.
One of the inversions of this occurs as this pattern played on the first three
strings. Put a tab on the first fret first two strings with your first finger and
hold the sixth string with your thumb on the same fret. Play the sixth string
along with the first three strings. You could also hold down the fourth string
on the fourth fret with your fourth finger and play all the strings except the
fifth.

Learn to play G sus2

The notes of this chord are G D A. Put a tab on the tenth fret on the middle
four-string with your first finger. Put your third and fourth fingers on the
fourth and third strings on the twelfth fret. Play only the middle four strings.
The next inversion of this chord occurs on the first three frets. We put the
first finger on the sixth string on the third fret and the third and fourth fingers
on the second and first string on the third fret. Play all the strings.

Learn to play A sus2

In this chord, we have the notes A E B. Play the middle two strings with your
second and third fingers. Play all the strings except the sixth.
One more way of playing this is to hold the fourth string on the second fret
with your first finger and the third-string with the fourth finger on the fourth
fret. You may play all the strings.

Learn to play B sus2

To play this, we must include B F# and C# in the chord. On the fourth fret,
we hold the fifth and fourth strings with the second and third fingers. The
fourth finger goes on the seventh fret sixth string and the fourth finger on the
sixth fret third string.
A variation of this chord is when you put the first finger on the sixth fret third
string and hold the first, second, and sixth strings with your other fingers.
Holding the sixth string is optional, you can use your thumb for this.

Learn to Play the NineSus4 Chords

This is a five-note chord (four notes when the fifth gets omitted) when the
third gets replaced by the fourth. So, it is the same as the eleventh chord
without the major third.

Learn to play C9sus4

In this, we play the notes C F Bb D G. The G note is optional. Play a barre on
the eighth fret and hold the first and third strings on the tenth fret with your
third and fourth fingers. You can sound all the strings.
To play an inversion of this chord, play a barre on the tenth fret for the first
four strings. Put your second finger on the eleventh fret second string. Play
only the first four strings.

Learn to play D9sus4

We have the notes D G C A E in this chord. Play a barre on the tenth fret and
hold down the first and third strings with the fourth and third fingers on the
twelfth fret. Play all the strings.
Another method of playing this chord is to hold the sixth string on the third
fret with the first finger and playing a barre on the other five strings on the
fifth fret. We may play all the strings.

Learn to play E9sus4

Here we have the notes E A D B F#. The first way to play this chord is by
holding the second string with the first finger on the third fret. Your second
and third fingers will remain on the fourth fret on the fourth and third strings.
You may play all the strings.
Another way to play this is to hold the first and third strings with your first
and second fingers on the second fret. Leave all the other strings open. Play
all the strings.

Learn to play F9sus4

In this chord, we include the notes F A# D# C G. Play a barre on the first fret
and place your third and fourth fingers on the third and first strings on the
third fret. You may play all the strings.
Another way to play this is to put your first finger on the sixth string on the
sixth fret and playing a barre on the eight frets for all the other strings. You
can sound all the strings.

Learn to play G9sus4

Here, we have to include G C F D A in the chord. Play a tab on the first two
strings on the first fret. Put your third finger on the third fret on the sixth
string. Play all the strings. You can also play the second finger on the second
fret of the third string.
The inversion of this chord is to play the barre on the third fret and put your
third and fourth fingers on the third and first strings on the fifth fret. You may
play all the strings.

Learn to play A9sus4

This has the notes A D G E B, which is the open notes of the strings from two
to six. Play the open string notes without sounding the first string. Or, you
may also sound the first string, which means you play all the strings.
An inversion of this occurs when you play the third string second fret with
your first finger and the first string third fret with your third finger. Play all
the strings.

Learn to play B9sus4

Here the notes to play are BEAC#F# with the F# being optional. Put your
fingers in the second fret to hold down the middle four strings. Do not play
the first and last strings.
One inversion of this chord will be when you play a barre on the seventh fret
and place your third and fourth fingers on the ninth fret third and first string.
Play all the strings.
 Conclusion

Welcome to the wonderful world of music. I hope you are enjoying it. Here
we are at the end of the book, "Guitar Lessons for Beginners." All that is left
is for you to begin practicing the things you have read. Get some of the songs
from the internet to spur you on.
You have gone through a wealth of information, and it takes time to absorb it.
Don't hurry this process because it might confuse you. Take it bit by bit, and
it will open the gates to your musical profundity. And don't forget to practice
daily.
Here is Wishing You the Very Best on Your Musical Journey!
 Bibliography

How To Play Guitar Chords: A Beginner's Guide. (2019, February 18).

Retrieved from https://nationalguitaracademy.com/how-to-play-
guitar-chords/
The Guitar in the Blues Music of the Deep South. (n.d.). Guitar Cultures.
doi: 10.5040/9781474214841.ch-002
Kessel, B. (1975). The guitar. Hollywood, CA: Windsor Music Co.
 GUITAR
LESSONS
FOR BEGINNERS

Comprehensive Guide of Tips and Tricks of

Playing and Using Guitar Chords and Notes
Effectively
 Introduction

When you hear the tinkle of a bell or the creak of a closing door, do you think
of them as ordinary day-to-day events or as an opening into the world of
music? For those who are new to music, know this - music is sound
rearranged so that you can define it. In this book, "Guitar Lessons for
Beginners," you find everything from the basic notes and chords of music.
It is not necessary for you to know music to play the guitar because the guitar
is a wonderful instrument with prearranged structures to help even the novice
play beautiful music. It is an array of classrooms, each having a specific
direction that leads you to the other side of the musical river.
You will not become a master musician by buying and reading this book.
You will become one by practicing what you read. This is the magic we
promise you. Practice and learn new things and then... move on. There is no
stopping those who have undertaken the journey; there are only more things
to discover and more songs to play.
Start on y0ur journey at once and reach the distant shores of ability. It helps if
you begin now.
 Part 1

Parts of a Guitar -
Holding and Playing the Instrument

Riding a horse is easy, you climb on top of it, and off you go. Playing guitar
is also as simple. But you need a few more things to make your ride
comfortable. When you ride a horse, you use the bridle with reins, a saddle,
saddle pad, and girth. In much the same way, when you play the guitar, you
need a music stand, a comfortable chair, a quiet corner of the house, and a
few exercises to start.

Study the Guitar Parts

Becoming familiar with your guitar helps you get close and bond with it. If
something goes wrong, you will know which part to replace and how to ask
for it in the store. So, let us begin by getting to know the parts of the guitar.
The Headstock
This is the end part of the guitar that is furthest from your body. It stays
attached to the neck, which is the long part on which you play the notes. The
headstock has the tuning keys (normally six in number), which help to hold
one side of the strings. The strings pass over the nut and saddle present
between the headstock and the neck. You can see this nut as a thin, white
strip made of plastic or bone.
Tuning Keys & Pegs
These are like the sails of a boat; you can trim the sails or unfurl them to pick
up the wind. You can adopt different tuning styles, but it all begins with the
tuning keys and the pegs. It all depends on what you want to become - a rock
musician or a country music guitarist or a lead soloist for a blues group. The
keys are the shiny knobs made of plastic or chrome that you twist clockwise
or anticlockwise to loosen or tighten the strings.
The tuning key nearest to you on the top of the headstock connects to the low
E string (thickest string). And, the key on the lower part nearest to you
connects to the high E, the thinnest string. You must remember this until it
becomes a part of your habit. When you look down at the keys, turning the
bottom E string (the string nearest to you) clockwise tightens the string. For
the thinnest string, turn the key anticlockwise to tighten it.
Also, it helps to remember the mechanism that works the pitch for you. The
tuning key connects to the tuning pegs, which essentially is a pinion gear
with a worm drive. You thread the string through the cylinder and wind it to
keep it in place. The worm gear moves the cylinder up and down, helping to
tighten or loosen the string. Other names for the tuning key are machine head,
tuning machine, gear head, and tuner. Depending on your company and your
preferences, you can also call them gears, pegs, tighteners, tensioners, knobs,
cranks, or machines. And for your information, violins, cellos, and lutes have
non-geared tuning devices called friction peg. They have a tapered shape
instead of the gears that hold the string through friction.
The Nut
This is the white strip you see resting between the headstock and the neck of
the guitar. This marks the end of the vibrating string and helps to hold it at
the right height above the fingerboard. There are grooves for each string to
help keep the spacing between the strings. The nut sits on the saddle.
We use different materials to make the nut. It could be brass, cow bone,
ivory, plastic, or ebony. By leading the strings in a smooth curve from the
fingerboard to the headstock, the nut prevents damage to the strings. When
there is no string clearance, we call it a zero fret. For all other string slots,
you must keep the proper height to get the proper intonation from the string.
Then, there is the locking nut used for the electric guitar. There are many
systems of locking vibrato, such as the Floyd Rose that connects to the
vibrato bar.
Since you must use an Allen key to adjust the nut, many guitarists prefer the
rolling nut. These use roller bearings in the place of a nut slot giving better
mobility to the strings.
The Frets
You have now come to the meat and bones of guitar music, the frets. These
are thin, metal strips that sit on the neck. If you wonder what they do, see
how they differ from a violin. The violin has no frets, and only when you
place your fingers in the proper place, you get the right note. You don't have
this problem with the guitar, you can place it anywhere within the fret, and
you have the note. Zing! You get the right note no matter where you place
your finger in the fret. This gives the magic to the guitar; you get a great
sound because you play the right note all the time. The only thing to learn is
where the notes are and how to combine them. You get 19 - 24 frets on a
guitar depending on the brand of guitar you choose. The standard classical
guitar has 19 frets, and electric guitars have between 21 - 24 frets.
The Fretboard
Many of you have a mental vision of the fretboard when someone mentions
"guitar." This is because this part occupies the largest part of the visual
representation. You have a hazy picture of the long piece of wood sticking
out from the body, having vertical striations all along its length. Do you have
this picture, or do you imagine something more? There are lots more because,
within the fretboard, there are markings to help the guitarist play well.
When you see a fretboard for one guitar brand, you notice it is rosewood. In
another, it is maple or ebony. These woods amplify the sound and improve
the tone of the note played. You will see white dots on the frets 3, 5, 7, 9, and
12. The twelfth fret has double dot marking to show the octave. This means
the notes will repeat but at a higher pitch. From there onward, the markings
are on frets 15, 17, 19, 21, and 24 (has double marking).

Markings on the Neck

Apart from this, there are markings on the side of the fingerboard. When you
look down, all along the length, there are dots spaced on the same interval as
the white dots. So, the guitar player doesn't have to peer over the edge to see
which note he is playing; he only must follow the dots. Usually, there is a
cutaway on the box to help the guitarist reach the top frets. Left-handed
guitarists must buy left-handed guitars as this will allow them to use their left
hands.
Inlays
This is the decorative pattern and includes the scratch plate (also known as
pickguard). This goes around the soundhole of the guitar box and helps
protect the box from scratch marks that come from the pick of the guitarist.
Most guitars have these inlays for cosmetic reasons alone, meaning you can
do without them. The usual dimensions are 11⅜ inch by 9½ inch by 0.06
inch. You might see the brand logo included in the inlay design.

The Body of the Guitar

Here is the place where the amplification and modulation of the sound
produced by the strings take place. This is a kind of meeting place where you
have the hole (in an acoustic guitar), electrical pickups along with volume
and tone controls (in an electric guitar), nut and bridge, along with the screws
for raising and lowering the bridge. One might also see the tremolo bar (also
called the whammy bar) to change the tonal quality of the notes played.
Eddie Van Halen and Jimi Hendrix used the whammy bar to create special
sound effects in their guitar play.

Acoustic Guitar Extras

The Sound Hole
This is characteristic of the acoustic guitar because the sound gets amplified
from the box through the hole. The vibrations of the string get picked up by
the box. Each box has a characteristic sound depending on the brand because
each brand uses a different wood for its box. The popular choices of wood
include mahogany. The sound hole in the middle of the box amplifies the
sound.

Woods
● Maple - Maple is the best choice of wood for a guitar because of the sweet
tone it has. Both soft and hard varieties go toward making the guitar body,
neck, and fretboard. You can see distinct grain patterns with a
characteristic bite in the tone that has plenty of sustain. The wood is very
durable and easy to finish because of the tight grain pattern. They make the
slimmer guitars with this wood. Gibson J - 200 is one of the top brands
that use maple. Usually, they use maple for the neck because it has the
stiffness and strength and adds tone to the sound in all ranges.
● Walnut - If you want a long-lasting guitar, choose one made of walnut
wood. This has a tone warmer than that of maple and enough sustain. The
wood has a good density and plenty of stiffness, making the high notes that
shout loud. It will show a midrange with persistent notes falling between
that of rosewood and mahogany. You have a subdued bass range, but it
will grow with time when you keep playing. The wood has good looks, but
it is heavy. Due to its tightness, walnut tends to give a firmer low end and
bright treble notes. You can get Taylor guitars made of walnut.
● Alder - One of the well-used lightweight woods that has a crisp tone and
good sound amplitude, which is why they use it to make Fender
Stratocaster guitars (one of the best guitars around). The grain pattern is
swirling with soft, tight rings that add to its strength. They use both Ash
and Alder to make Fender guitars. Alder belongs to the birch family. Red
Alder has many suitable properties due to its closed pore structure, which
includes a resonant, balanced tone. There is a sharp attack with a
wonderful sustain. Looks-wise, it has a light, brown color with a good
finish.
● Ash - Ash, especially swamp ash, is light and resonant with large open
pores. During the making of the instrument, these pores must get filled in
before you can give it a colorful finish. They made the first Fender guitars,
Telecaster and Broadcaster, with swamp Ash. The highs have a sweet-
sounding, chiming quality, and the low end is strong and steady. And the
midrange has a clear definition. On a comparative note, the sustain is less
compared to other guitar woods.
● Mahogany - What it lacks for, by way of good looks, mahogany
compensates with its robustness. Many of the top guitar makers use this
wood to make the top. When used for the sides and back, it adds accent to
the bass and treble. You can use the maple for about any part of the guitar,
 including the fingerboard, blocks, necks, and kerf lining. When used to
make the sides and back of a steel-string acoustic guitar, it adds depth and
bites because of its open-grain nature. It adds good tonal quality to the
midranges and emphasizes the low range, unlike rosewood that tends to
subdue them. Some famous guitarists with mahogany guitars (some have
mahogany top only) include Bob Dylan (00-17), Woody Guthrie (SJ), Bob
Marley (Les Paul Special), John Lennon and George Harrison (J -160E).
There are tons of other woods such as Sitka Spruce, Koa, Indian
Rosewood, and Ebony that help in the making of great guitars. But we
have covered most of the major types of woods to help you get an
understanding of how to choose the wood for your guitar. Many musicians
have more than one guitar to cater to a wider range of songs they play.
The Bridge
This is the part on the other side of the headstock, and it sits on the box. It
helps anchor the strings as well as adjust the way we align them. The bridge
allows the string to "sit" at a height above the fretboard. Yes, you can lower
or increase the height to suit your style of guitar play. This lower-end
appendage of the guitar is vital and has two parts - the saddle and the tie
block. You have two screws sitting on each side of the bridge called the
thumbscrews that you can rotate with your finger (or use a screwdriver to
turn them).
The saddle (same as the bridge in the electric guitar) in an acoustic guitar is
of bone or plastic and has a continuous smooth edge. It has no grooves, and
its base stays wedged into the groove present in the tie block. The wooden tie
stays glued to the box and helps to supply stability to the string ending there.
On a classical guitar, the string gets tied by passing it over and over itself
after passing it through the hole in the tie block.
The tension from the strings helps to clamp the saddle down on the box. For
steel-string acoustic guitars, the termination happens through the balls present
at the end of the string; there is no need for tying. In the acoustic guitar, the
saddle and tie block is not adjustable. The manufacturer determines the height
of the strings. So, you must pay attention to this when you buy the acoustic
guitar.
Coming to the electric guitar, there are two kinds of bridges - fixed and
floating types. The fixed type is self-explanatory - they do not move on the
box or the strings. The floating type moves on the box with the help of
springs set into the guitar. The guitarist can move the bridge using a lever so
that he can increase or lower the pitch. This allows the guitar player to do
many things, including bending the note, apply vibrato to an entire chord, and
make siren-like sounds by warbling notes. They also produce squealing dive
bombs - a new dimension to the music playing that rock guitarists love.
The Saddle(s)
The strings rest on the saddle before they go into the hole on the bridge. It is
a white strip made of plastic or bone that stays glued to the box of the
acoustic guitar. For electric guitars, the saddle is usually made of metal fixed
to the bridge by screws. You can remove, adjust, and replace them as needed.
The position of the saddle affects the action – the height of the string above
the fretboard - to increase or decrease the mobility of string play, intonation -
the ability of the guitar to stay in tune, and tone - increasing or decreasing
tonal quality by using different materials for the saddle.
Several types of saddles exist. The first is the drop-in saddle that sits on a
routed groove on the box. You can add or remove material from the bottom
to raise or lower the bridge. Next, we have the long-set saddle that extends to
the wings of the bridge. They glue this to the guitar and then shape it. To
remove, we must heat the glue and soften it. Take care to prevent the top and
finish from damage due to the heat. Compensated saddles help improve the
intonation by their unique design. One can raise and lower the adjustable
saddles with the help of screws.
Bridge Pins
These are small stick-like appendages that help secure the strings on the
bridge. We push the string ball into the hole and then put the pins in. This
prevents the ball from popping out of the hole. You might also see some
bridges that don't need pins. We call these pin-less bridges.
Strap Buttons
It is common to see this button on the side and back of the instrument. If your
guitar doesn't have this button, you will have to buy a small string to tie
around the neck. This will help you tie the string to the strap so you can sling
the guitar over your shoulders.
Electric Guitar Extras
The Pickups
To get the sound of the strings, we use pickups that convert the vibrational
energy of the strings to electrical energy and convey it to the amplifier. Next,
the amplified waves get sent to the speakers where we hear the sound.
Electric guitars use magnetic pickups while acoustic guitars use a
piezoelectric pickup.

Types of Pickups
There are three kinds of pickups - Humbuckers, P90s, and Single-Coils.
Humbucker Pickups: These pickups got their name because they help get
rid of the hum, which we see with single-coil pickups. So, they use them
more in guitars. Here we have two single coils working together. The tone of
these pickups is warm, and so it is most suited for jazz music. They handle
distortion well but will not suit country and surf music.
Single-Coil Pickups: The sound produced is brighter, but the accompanying
hum is a deterrent. These use a single magnet over which thousands of thin
wires are present. The Fender Stratocaster used a single-coil pickup and used
to play surf and country music. The shortcoming of these coils is that they do
not handle high distortion well. So, they are not good for metal or rock music.
P90 Pickups: This type of pickup is a go-between compared to single coil
and humbuckers. Their output is not as high as that of the humbucker, but the
tone is high compared to the single-coil pickup.

Electric Bass Pickups

Split Coil Pickups: These are two halves of the same pickup. One-half rests
slightly higher than the other. These are best used in punk and rock music
because they give a punchy output.
J-Pickups: The best-known example of J-pickups is in the Fender Jazz Bass
known for its warm, clean tone. Some rock musicians like Geddy Lee of
Rush also use this pickup.
Soap Bar: When the J-pickups have a wider housing, they become Soap Bar
pickups. Because of its sealing, these pickups stay protected from rusting and
degradation. The pins jutting out from the bottom helps the guitarist use
different wiring combinations while playing the guitar.
Dual Coil: These are humbucking pickups that perform in the same way
humbuckers do on the electric lead guitars. The vintage bass tone makes them
an automatic choice for many bass guitarists.
Optical: This is the latest kind of pickup that uses infrared light. These
models are not popular, but they have some great advantages over the
magnetic pickups.
They do not have hum.
They cater to the entire range of musical sounds.
Their response is flat since there is no physical dimension
involved.
You get good sustain because they only "see" the strings.

Having two pickups, one near the bridge and another near the neck, is
popular among bass guitarists. The one near the neck will produce "muddy"
sounds that have more depth while the one near the bridge will produce a
brighter sound. You can blend the two to get a wide range of tones.
The best one on the market is Schaller E-Bass bridge for 4 strings or 5
strings, but since you must install each of the pickups one by one, it might
prove a bit difficult. Instead, you could go for the NS Design CR5 (5 strings)
or the Ibanez Workshop SRF705 (fretless 5 strings).
Volume & Tone Knobs
Now we have come to the sound control mechanism on the guitar body. The
number of knobs could be one or four, depending on the brand. As the name
shows, the volume knob controls the amount of output while the tone knob
controls what it will sound like (how much treble and bass it has).
Pickup Layout on the Guitar
For a standard Gibson style layout, the pickup nearest the bridge is your lead
pickup. It helps to project the sound of your lead play above that of the band.
The one nearest the neck is the rhythm pickup and has a mellow sound. You
use this (turn on the volume for this pickup) when you want to blend in with
your rhythm. Before the song begins, you set your knobs to 6 or 7, and then
when it is time to play your part, you turn the tone knob up (whichever you
need at the time) and play. After you finish, turn the knob back to 6 or 7
again.
The Volume Control Knob
The Volume control knob controls the loudness of all the sound coming from
your guitar. You must adjust this before the band begins to play. If you set it
too high, you will drown out the others in the band, and if it is too soft,
people will not hear you. To see an advanced settings control, let us consider
the Seven Sound Stratocaster.
The seven-way selector overcomes the shortcoming of the standard three-way
pickup with a 5-way selector switch. In this situation, we have less choice
because we cannot use combinations like using all three pickups at the same
time. But first, let us see what a pickup selector switch is.
The Pickup Selector
The Pickup selector is the second control on the electric guitar present in
most cases as a toggle switch between three positions. If you want to hear the
neck pickup, move the toggle to the topmost position. And, yes, you guessed
it, the toggle at the lowermost position gives the bridge pickup. And, if you
want to use a blend of two, put the toggle in the midway position.

The Seven-Way Control

On the seven-way control, you have these controls;
Position a: Get bridge pickup sound alone.
Position b: Get sound blend from the bridge and the middle pickup.
Position c: The sound comes from the middle pickup alone.
Position d: You have sound from the middle and neck pickup.
Position e: The pure sound from the neck pickup appears.
Position f: In this case, the bridge and neck pickups are in parallel.
Position g: All three pickups have equal dominance.
 pxfuel

Holding and Playing the Guitar

When you hold the guitar properly, you find it easy to play. Improper posture
doesn't create any immediate injuries. What happens is that you learn
something wrong, and it stays with you, and if you want to correct it, one
must unlearn the wrong method before they can learn the correct thing. So,
put some effort into holding, playing, and practicing the scales so that you
learn it correctly the first time.
The Sitting Posture
Right, you are ready to begin. Take a chair, a comfortable one in which you
can comfortably sit for an hour or two and put it in a quiet corner of the
house. Make sure you have the correct angle of the light that allows you to
see things clearly and read music if needed. Sit erect in the chair and place
the guitar on your knee. Keep both feet on the ground. The waist of the guitar
goes on the right knee for right-handed people. Hold the neck of the guitar
horizontal to the floor.
Hold the Guitar
The guitar will tend to drop its neck when you leave it alone. Use the right
hand to balance the weight on your knee so that it rests comfortably. Your
fretting hand is the left hand; it plays the frets to help you strike the right
note. The right hand is your strumming hand; you must let it hang loosely by
resting it on top of the guitar. Check for these points before you begin
playing:
 Place the thumb of your fretting hand behind the neck. The neck
will rest in the crook between the thumb and the forefinger. The
reason you do this is to get the full leverage to press on the
fretboard.
The thickest string (sixth string E) is closest to the ceiling. We
count the strings from the bottom E string, which is the thinnest
string. This is the first string, and when you come to the topmost
string, you have the sixth string (thickest).
Your first finger is the one nearest to the thumb. This is the
forefinger or pointer finger. The second finger is the middle
finger (second from the thumb), the third finger is the ring finger,
and the fourth finger is the pinky or the little finger. The
notations for the frets and fingers will remain marked on the
music sheet, so you must learn this to be able to play well.
The open note is 0 (zero). The fret nearest to this is the first fret.
The one next to that is the second front and so on. The first fret is
the space between the open note and the first vertical metal strip
present.
You will be able to see the fret markings on the side of the neck.
They will look like spots on the third, fifth, seventh, ninth, and
twelfth frets. And then they carry on to the frets 15, 17, 19, 21
and 24. Make a practice of checking the frets using the spots; this
will increase your guitar playing fluency.

To play a note, select the string to play, choose the fret for your note, and
then press on the string before you pluck the string. Use the tip of your finger
to press the string. When you play consecutive notes, use consecutive fingers.
That means after you play a note with the first finger, use the second finger to
play the next note. Use your thumb to play the fifth and sixth strings (the
thick strings) and use your first, second, third, and fourth fingers for the rest.
Or, you could use a pick to play all the strings.
The Standing Posture
When using the standing posture, it is advisable to use a strap to hang your
guitar. This will help you handle the instrument easily. Another way to use
the standing pose is to keep 1 foot on a chair or a footstool. Learn to adjust
the strap to the correct length so that the fretboard is always in easy reach of
your fingers. When you begin to give stage performances, you will need to
use this pose.

Playing Notes - Music Theory

Before we start, you must know the notes on each of the strings of the guitar.
Let us begin by learning the notes of each string. The first string is the
thinnest one, and this is E. It is the top E, and the string is at the bottom of the
guitar as you look down at it. Incidentally, the string on the top as you look
down at it is also E. This is the thickest string, and it is the sixth string.
The other strings in order of their numbers from thinnest to the thickest are
BGDA. You can remember this as the Bright Green Diamond Amulet. Of
course, you can make up your own. In the musical sequence, the progression
is of whole notes and half notes. So, you will have a half note after one full
note. But this may not always be the case. The notes are ABCDEFG, after
which they repeat in the same order. And, you have the sharps and flats. A
sharp is a note on top of another while the flat is one that is below another.
So, C# (C sharp) will be Db (D flat), and F# will be Gb. This is true for all
notes except for two notes - B and E. These two notes have no sharps. Or,
you could say that C and F have no flats. That said, let us see what the
sequence of the notes is. They are like this:
CC#DD#EFF#GG#AA#B and the sequence repeats. There are 12 notes, after
which the octave repeats the same set of notes. Also, we read the notes from
the middle C of the piano. When you tune your guitar, they must be in
synchrony with the notes of the piano.
You will need to memorize the notes on the strings. The first 13 notes on the
strings are like this:
First (E) String - EFF#GG#AA#BCC#DD# E
Second (B) String - BCC#DD#EFF#GG#AA# B
Third (G) String - GG#AA#BCC#DD#EFF# G
Fourth (D) String - DD#EFF#GG#AA#BCC# D
Fifth (A) String - AA#BCC#DD#EFF#GG# A
Sixth (E) String - EFF#GG#AA#BCC#DD# E
Easy Way to Remember the Notes on the Fretboard
There is an effortless way to remember the notes on the guitar. This is by
memorizing the notes on the fifth and sixth strings. Move two frets up, and
two strings down, and the same note repeats. Also, the notes on the first and
sixth strings are the same. So, you have half the notes already and know
where the rest are. That leaves only the second string. The notes on the
second string are the same as those on the fourth string except they get
moved up one fret. To find the note, you must move up three frets and down
two strings. You can use your special method to remember when you figure it
out.
Play the Chromatic Scale
When we play the notes, each note is lower than the next note. So, C# is
lower than D, and F# is lower than G. You will learn to play the chromatic
scale first. On this scale, all the notes stay stacked one after the other in the
same way they appear on the fretboard. The idea here is to get the proper
movement of your fingers. Play the notes using the next finger and move
your hand when you come to the fourth finger.
Learn to Keep Time
It will be fun but remember one thing. You must keep count while you play
the scale. The chromatic scale may not sound interesting, but it helps you get
a feel of the notes. Also, you develop a sense of timing, which is the most
important thing. Try 1-2-3-4 1-2-3-4 for the first scale on the first string.
Then go on to 1-2-3 1-2-3 count for the second string. This is to help you
understand how to count (for the rhythm) and become familiar with the notes.
Tap on the floor with your foot to keep the timing.
Read and Play the Scale
The chromatic scale on the first string is this:
E--1---2---3---4---5---6---7---8---9---10---11---12--
Now, try to play the natural notes on the first string. The notes are E (Open
string), F (First fret), G (Third fret), A (Fifth fret), B (Seventh fret), C (Eight
fret), D (10th fret), and E (Twelfth fret). In tablature notation, this has a
representation like this:
E ---0---1---3---5---7---8---10---12--
Use the fingers that are most convenient to you. But, make sure you use all
the fingers to play the notes.
For the Second String
The chromatic scale for the second string is as given.
B --1---2---3---4---5---6---7---8---9---10---11---12--
We have these natural notes on the second string.
B (Open string), C (First fret), D (Third fret), E (Fifth fret), F (Sixth fret), G
(Eight fret), A (10th fret), B (Twelfth fret).
The tablature is like this:
B --1---3---5---6---8---10---12--
For the third-string
You can play the chromatic scale on the third-string like this:
G--1---2---3---4---5---6---7---8---9---10---11---12--
To play the natural notes, you will need to know what they are. They are G
(Open string), A (Second fret), B (Fourth fret), C (Fifth fret), D (Seventh
fret), E (Ninth fret), F (Tenth fret), G (Twelfth fret).
The tablature is this:
G--0---2---4---5---7---9---10---12--
For the fourth string
To play the chromatic scale on the fourth string, follow this:
D--1---2---3---4---5---6---7---8---9---10---11---12--
Now, try to play the natural notes. These are the notes on the D string.
D (Open string), E (Second fret), F (Third fret), G (Fifth fret), A (Seventh
fret), B (Ninth fret), C (10th fret), D (Twelfth fret).
The tablature is this:
D---0---2---3---5---7---9---10---12--
For the fifth string
The next chromatic scale is on the fifth string. Here is the tablature:
A--1---2---3---4---5---6---7---8---9---10---11---12--
The natural notes on the fifth string are A (Open string), B (Second fret), C
(Third fret), D (Fifth fret), E (Seventh fret), F (Eighth fret), G (10th fret), A
(Twelfth fret). The tablature is as follows:
A---0---2---3---5---7---8---10---12--
For the sixth string
For the last chromatic scale on the sixth string, we have the tablature given as
follows:
E--1---2---3---4---5---6---7---8---9---10---11---12--
To play the natural notes, learn them first. They are E (Open String), F (First
fret), G (Third fret), A (Fifth fret), B (Seventh fret), C (Eighth fret), D (10th
fret), E (Twelfth fret).
The tablature is like this:
E---0---1---3---5---7---8----10---12--

Play All the Natural Notes

To become more fluent with the notes and finger movement, practice playing
the natural notes beginning from the lowest note on the sixth string. Here is
the tablature for playing:
E----------------------------------------------0--
B-------------------------------------0--1--3----
G------------------------------0--2--(4*)-------
D--------------------0--2--3--------------------
A-----------0--2--3-----------------------------
E--0--1--3--------------------------------------
* Play the open B instead of this note. Both are the same.
**The numbers show the fret you must play. Use any convenient finger.
Now that you have completed the ascending scale start the descending scale.

The Descending Scale

This has the same notes as the ascending scale, but one must play the notes
from the highest note to the lowest one. Here the highest note is on the third
fret of the first-string G. The next lower note is F on the first fret. Then one
must play the open note before going to the second string. This is the order of
the descending scale.
One doesn't have to be a genius to understand the various orders of the
different scales and the arrangement of the different chords. Some of the top
guitarists of our time knew nothing about reading music when they began to
write the songs that stirred the world.
A note about reading music
Elvis Presley, the king of rock and roll, had no formal training. He developed
his own sense of guitar play and did not write any songs though he got credit
for a lot of them. It made him "look smart," as he puts it. Then we have the
King - Michael Jackson. He tape-records several songs and then rearranges it,
so he has a completely new song with a soul-stirring beat. He uses the voices
of his brothers and sisters along with percussion instruments to complete his
recording.
That does not mean that it is a sham. In fact, the energy and dedication they
put into the songs make the song sound great. So, Eric Clapton cannot read
music, and yet he is a three-time Hall of Fame inductee! And, the most
famous one of all, The Beatles! Not one of them could read or write music,
and yet they have influenced the music scene in a way no one else could. Do
you still think not being able to read music is going to stop you? No, unless
you want it to. Let's get back to the descending scale.
Funnily enough, the tablature is the same, but you must start playing from the
top.
E----------------------------------------------0--
B-------------------------------------0--1--3----
G------------------------------0--2---------
D--------------------0--2--3--------------------
A-----------0--2--3-----------------------------
E--0--1--3--------------------------------------
Go from right to left now as you play down the strings. After you play the
open note on the first string, play the third fret of the second string and then
go to the first fret. Play the open note and then go to the second fret of the
third string. Go on this way until you reach the open note on the sixth string.

Tuning the Guitar

Learn the theory behind tuning the guitar and then follow the tips to get your
guitar play-worthy in no time. You can use tuners, both electronic and
mechanical, or you can simply tune the guitar by ear. When we say a string is
sounding flat, it means you must tighten it so that the note reaches the true
value. And, if it is sound sharp, it means you must loosen the string so that
the note will drop down to its actual pitch.
Take Care While Tuning
Also, pay attention to the tuning keys. You might hold the wrong and keep
tightening the string because it is not going up. This will lead to the wrong
string snapping because you did not look at the right tuning key when you
began tuning. Tighten a little and play the string, and if there is no significant
change in the note, look at the tuning key you are holding. If it is the right
one, then get back to tuning the string. Go with your gut instincts always; if
you think something is wrong, it is.

Types of Tuners

Electric Tuners: This is the simplest to use. Turn on the electric tuner and
play the string you want to tune. Within seconds, the tuner will tell whether
your string is in tune or needs adjusting. You must read the dial and tighten
or loosen the string according to the plus or minus sign displayed. Some
tuners also have an indicator hand that shows how much off you are. If you
adjust the string and the indicator hand moves further away from the center,
you are doing it wrong. When you have the right note, the indicator will stay
right in the center.
Electric Tuners With Calibration
Then there are tuners that have a calibration setting on them. If this is the
case, check whether it is set to A 440 Hz. If not, adjust it until the setting is
right. Next, you must select the note name, says E. Tune the string so that it is
vibrating to the right frequency. Note that the sixth string has a low
frequency. You must choose the right string and tune it. The tuner will show
the name of the string, after which you can tighten the string to the correct
tension to get the proper note. Always go up a little more and then slowly
ease the tension. This will help the string stay in tune for a longer time.
Tuning by Ear: This is also called the Fifth Fret Tuning method. Here, you
play the fifth fret of the string, which becomes the open string note of the
next string. For instance, play the fifth fret note on the sixth string. This is A,
which is the open string note of the fifth string. This holds true for all strings
except the fourth. On the third string, the fourth note gives the open note on
the second string. This method will help you tune the guitar fast, but it is not
as correct as of the electric tuner method.
Use the Online Tuner
This is the best choice if you are not good at tuning by the fifth fret method,
and you don't have an electronic tuner in hand. Go online using your
smartphone and download the Online Tuner app. Now, you can click on the
app and tune your strings one by one. When the string comes in tune, the app
will announce, "You are now in tune." Simple to use, this app gives you good
accuracy in the tuning.

Learn to Strum the Guitar

By now, you are familiar with the guitar, its strings, and the way to play the
individual notes. This is a good beginning, and now you must go to the next
step - learning the strumming technique. By strumming, we mean playing all
the strings together so that we sound all the notes in the chord. Wait! What is
a chord?
Good question! A chord is a group of notes that have harmony. They
complement each other so that they all sound like one and amplify each
other. The chord has three main notes - Root, Dominant, and Subdominant.
This is enough to begin; you will learn more in the advanced section.
Name of the Chord Root Dominant Subdominant
CCEG
A A C# E
GGBD
D D F# A
Getting the three notes together gives you the chord, and the name of the
chord is that of the root note. For the adventurous person, this is the
opportunity to "discover" the chord by yourself. You know the notes on your
guitar, go ahead and close the book. Try to get the chord on your own. When
you do, you will know it because it will sound right.
For those who don't want to wade into deep waters, here is the shape of the
chords. Use these chords to get your strumming practice going.
The C Chord
Here you have the open string shape of the C chord. This is a very useful
guitar chord for beginners because it combines with all the other chords.
The small circle at the beginning of each string is the open string note. If you
see an 'x' before the string name, it means do not play that string. The dark
circles within the frets are the notes of the chord.
E o----|----|----|-----|---
B o-0-|----|----|-----|--
G o----|----|----|-----|--
D o----|-0--|----|-----|--
A o----|----|-0-|-----|--
E o-----|----|----|-----|--
1234
Here in the C chord, we see three notes on the second, fourth, and fifth
strings. The notes are on the first, second, and third frets. Use the first finger
for the first fret, the second finger for the second, and the third finger for the
third fret. It is better not to play the sixth string. But you can try to place your
fourth finger on the third fret of the sixth string. Then play it along with the
rest of the notes.
The A Chord
E o----|----|----|----|----|-
B o----|-0-|----|----|----|-
G o----|-0-|----|----|----|-
D o----|-0-|----|----|----|-
A o----|----|----|----|----|-
E o----|----|----|----|----|-
12345
In the open string shape, the A chord has three notes. We can see all the notes
on the second fret of the second, third, and fourth strings. You can use your
first, second, and third fingers to press the strings on the three frets. Or, you
could also use the second, third, and fourth fingers to play the chord. This
will help you when you move the chord up the fretboard and play other
chords with the same shape.
The G Chord
E o----|----|-0-|----|----|-
B o----|----|----|----|----|-
G o----|----|----|----|----|-
D o----|----|----|----|----|-
A o----|-0-|----|----|----|-
E o----|----|-0-|----|----|-
12345
Like the C chord, the G chord is an essential chord. Again, we have three
notes only. The first and sixth strings have notes on the third fret. The fifth
string has a note on the second fret. Use your first finger on the third fret of
the first string. Put your second finger on the fifth string second fret and the
third finger on the third fret of the sixth string. You can sound all the strings.
The D Chord
E o----|-0-|----|----|----|-
B o----|----|-0-|----|----|-
G o----|-0-|----|----|----|-
D o----|----|----|----|----|-
x A o----|----|----|----|----|-
x E o----|----|----|----|----|-
12345
Here you notice the two x's that tell you not to play those strings. We play the
D chord only on the first four strings. The notes are on the second and third
frets. Play the second fret note on the first string with your third finger. Your
first finger goes on the second fret of the third string. Now, place the third
finger on the second string on the third fret.
The Beauty of the Seventh Chord
You can play the seventh chord by adding the seventh note to the major
chord. For the C scale, the seventh note is A#. We get this by moving the root
note down one whole note (two semitones). So, you can get the C7 chord
with a simple addition using your fourth finger to the third string.
E o----|----|----|-----|---
B o-0-|----|----|-----|--
G o----|----|-0-|-----|--
D o----|-0-|----|-----|--
A o----|----|-0-|-----|--
E o-----|----|----|-----|--
1234
The C7 Chord
Why don't you try some of the seventh chords for the other chords you
learned? Remember not to disturb the chord pattern; that is, it must have the
root, dominant, and subdominant notes. Once you have tried it, come back
and check whether you got it right.
The Rest of the Seventh Chords
E o----|-0-|----|----|----|-
B o-0-|----|----|----|----|-
G o----|-0-|----|----|----|-
D o----|----|----|----|----|-
x A o----|----|----|----|----|-
x E o----|----|----|----|----|-
12345
The D7 Chord
E o-0-|----|----|----|----|-
B o----|----|----|----|----|-
G o----|----|----|----|----|-
D o----|----|----|----|----|-
A o----|-0-|----|----|----|-
E o----|----|-0-|----|----|-
12345
The G7 Chord
E o----|----|----|----|----|-
B o----|-0-|----|----|----|-
G o----|----|----|----|----|-
D o----|-0-|----|----|----|-
A o----|----|----|----|----|-
E o----|----|----|----|----|-
12345
The A7 Chord
Each seventh chord has a leading tone to it. This means when you hear it, you
hear its incompleteness. It suggests that it is going somewhere. But where is
it going? In most of the normal situations, they go like this:
G7 -> C
A7 -> D
C7 -> F
D7 -> A
Yes, you haven't learned the F chord yet, but you soon will. Practice the rest
of the chords and use timing when you play.
Keep Timing When You Play
Music sounds good only when you keep time. Begin with the basic 1-2-3-4
count. It will help you get into your groove. Then, try the 1-2-3 count; this
will be tougher because you must play slower. If you want to play faster, you
can go 1-2 1-2.
Play the C chord. Pluck the fifth string with your thumb and strike the strings
with your forefinger twice. Use the 1-2-3 count. Then, pluck the sixth string
and strike all the strings with your forefinger twice. Now, go to the G7 chord
and use the same 1-2-3 count. Keep changing between the two chords. Use G
and D7 to the same count.
Play a Four-Chord Run
Next, you can play a 4-chord run. Start with D using the 1-2-3-4 count. Play
D four times. Hold the strings of the A chord with your fretting hand and
strike the strings with your strumming hand eight times. Play G striking it
four times and go to A. After you play it four times, play the A7 chord. Go
back to D.
You can play just two chord combinations until you are able to change the
chords fluently.
Learn Strumming Patterns
For beginners, a metronome will help a lot. It allows you to focus on the
playing method rather than on the counting. There are two ways you can
strum the guitar. One is the downstroke ( ⇣ ), and the other is the upstroke
( ⇡ ). Let us begin with an all-downstroke pattern.
The Simplest Strum Pattern for the Guitar
⇩ ⇣ ⇩ ⇣ ⇩ ⇣ ⇩ ⇣ |
The ↓ is one downstroke, and the | is the pause. It is easy to play 1-2-3-4
count, but we need to make one change here. Instead of counting 1, then 2,
then 3, then 4, we count as 1 and 2 and 3 and 4 and…If we were to write the
count for the pattern above, it would be like this:
⇩ ⇣ ⇩ ⇣ ⇩ ⇣ ⇩ ⇣ |
1 and 2 & 3 and 4 & Pause
Modified Simple Strum Pattern
In this, we change the second stroke and make it an upstroke. This will give
us the following:
⇩ ⇡ ⇩ ⇡ ⇩ ⇡ ⇩ ⇡ |
1 and 2 & 3 and 4 & Pause
It is important to note the way strum. By putting an accent on the fourth
stroke, the pattern will get more depth. Try this for both the all-downstroke
and the alternate down and up stroke patterns.
Adding a Damping Stroke
Most of the interesting rhythm patterns have a damping stroke. By damping
one of the strokes, we achieve a different rhythm pattern. Try this pattern
given below:
**
⇩ ⇡ ⇩ ⇡ ⇩ ⇡ ⇩ ⇡ |
1 and 2 & 3 and 4 & Pause
What happens is when you come to the Asterix, you strum and put your hand
on the strings. Then, continue the rhythm smoothly until the end of the
pattern. This gives you an up/down/up style rhythm broken by a damping
stroke.
Learn the Double Stroke
This is simple, and once you get the hand moving smoothly, you will hear the
wonderful beat you played. To do this, start with a fast-double downstroke
and follow it up with one upstroke. Here is the pattern:
↡ ⇡ ↡ ⇡ ↡ ⇡ ↡ ⇡ |
1 and 2 & 3 and 4 & Pause
You could also combine the downstroke with two more downstrokes instead
of the upstroke. Then, the pattern will be like this:
↡ ⇣ ⇣ ↡ ⇣ ⇣ ↡ ⇣ ⇣ |
1 2 3 1 2 3 1 2 3 Pause
The important thing is to learn the double stroke both up and down. You can
work out thousands of combinations but learn one or two staple rhythms first.
Then, you can build on them.

Second Step Rhythm Using Double Downstroke

Many songs have a steady beat that allows great freedom in the lead guitar
play. The first pattern in this series goes like this:
⇩ ⇩ ⇩ ↡ ⇩ ⇩ ⇩ ||
12341234
The pattern has a pause for the last two counts. You can improvise by using
an upstroke where you think it is proper. Another variation is as follows:
⇩ |↡ ⇩ ⇩ |↡ ⇩
12341234
Use any chord you like, say D, to practice the rhythm pattern. The A chord
will also help because you will be able to build a rhythm by pressing the
strings. You could also rotate the chords by playing D for two counts of four
and then moving on to A. Then, come back to D.
Play Slow Songs
Now, to learn something new. We use the notation ⇩ to pluck the base
string. This means you use the thumb to pluck the string and then ⤋ (or ⤊ )
play the rest of the strings once or twice, up (or down). This usually has the
1-2-3 count. The up and down (or down-and-up) stroke is ⥮ (or ⥯ ).
The usual chord for this is C paired along with G (or G7). So, go ahead and
try it. Start with C and play the A string (C note on the third fret) first. The
next note is G (put your little finger on the third fret of the sixth string). For
the G chord, you have the notes B and G.
⇩ ⤋ ⤋ ⇩ ⤋ ⤋ ⇩ ⤋ ⤋ ⇩ ⤋ ⤋ ⇩
CGCGB
1 2 - 3 One 2 - 3 One 2 - 3 One 2 - 3 One
⤋ ⤋ ⇩ ⤋ ⤋ ⇩ ⤋ ⤋ ⇩ ⤋ ⤋
GBC
2 - 3 One 2 - 3 One 2 - 3 One 2 - 3

Important Tips to Remember

Go Easy on the Strum
Beginners should put their mind and soul into the strumming practice. But
this doesn't mean that they must hammer at the strings all the time. Most of
the time, it is enough if you strike three or four strings while strumming. As
you develop the rhythm, you will get more finesse in your guitar play.
Keep your Wrist Loose
Never lock your wrist. Keep it loose and give it an easy swinging action. This
will help you avoid needless wrist and arm pain. The easy movement will
help you develop a good strumming technique.
Give More Movement to your Strumming Hand
When you begin to strum, keep the movement going. When you stop moving
your hand, you break the rhythm. Tap your foot if you want, and keep your
body jiving to the music all the time.
Mention your Action and Then do It
Learn to say it before you do it. Imagine the beat you want for the song and
hum it or tap it on the table before you try to play it. When you say it like it
is, you increase the chances of getting it right.
Another Simple Strum Pattern with Upstrokes
Learning to play songs on the guitar begins with developing a solid rhythm
technique. Here is another rhythm pattern to help you.
↓↓⥯ ⥯ ↓↓⥯ ⥯ ↓
1 & 2 and 3 & 4 and 1 & 2 and 3 & 4 and
Here the count is 1 and 2 and 3 and so on. This is tough for a beginner, but if
you put your mind to it, you will master it soon.
Holding the Pick
When you hold the pick, you need a good grip and full access to the strings.
The normal style is to hold it between your thumb and forefinger, although
many guitarists prefer the thumb and middle finger. The latter style helps
rhythm guitarists while the former helps lead and bass guitar players.
Hold the pick with the first digits of the index finger and thumb. You must
cover about half the pick with your fingers. While strumming, make use of
your right arm and not your wrist alone. Don't rest any part of the arm on the
guitar and leave the wrist loose. Begin with the simple up and down
strumming pattern. Move through two simple chords back and forth until you
have the feel of the pick and the guitar.
Finger Picking Style of Playing Guitar
This is simple, and you have done it before with the C chord. Now, we are
going to fingerpick the guitar, meaning you will play individual strings
instead of strumming the whole bunch of strings. This is useful for slow
songs and helps you develop your control over riff play.
The pattern for picking will be like this. Play the fifth string (sixth for G)
with the thumb and then use the second, third, and fourth fingers to pick the
rest of the strings. The simplest pattern is to play all the strings - four, three,
and two - one by one. You can improvise when you have some degree of
control over your picking.
Play G and follow it up with C (Press the sixth string with the little finger on
the third fret). Then, move to D7 before you come back to G. Another simple
chord run will be A then D and back to A again. Or, you could go to E after
D and then come to A. Play two full bars of 4 count on each chord. This gives
you enough leeway to move around and play with the fingers on different
frets.
E--------------------------------------------------------------------------------
B-------------0-----------0-----------0----------0----------0--------------0-
G----------0-----------0-----------0----------0----------0-------------0-----
D------0-----------0-----------0----------0----------0-------------0---------
A---------------2------------------------2---------3--------------------------
E---3--------------------------3----------------------------------3------------
GGC
Notice how, when you change to C, the first string you play is the fifth string
and not the sixth string. The change from C to D is in the tablature below.
Continues with the C chord.

E----------------------------------------------------------------------------
B--------------0--------------0-------------0-----------0--------------0--
G----------0--------------0-------------0-----------0--------------0------
D------0--------------0-------------0-----------0--------------0----------
A---3-----------------------------------------3-----------------------------
E------------------3--------------3--------------------------3--------------
CG
Now, shift from G to D7 and then go back to G.
E---------------------------------------2------------2-------------2-----------
B-----------0-----------0----------1------------1-------------1---------------
G-------0------------0----------2------------2-------------2------------------
D---0------------0----------0------------0-------------0----------------------
A------------3------------------------------------------------------------------
E--3----------------------------------------------------------------------------
G D7
After you finish this run, move over to the A - D - E chord run. This chord
run is more often used for fast rhythmic songs. Try strumming it and see for
yourself. But, becoming familiar with the notes and picking patterns will help
you when you begin to play lead on the guitar.
E-------------2----------------------------------------------------------------
B----------1---------------0-------------0-------------0-------------0-------
G------2---------------0-------------0-------------0-------------0----------
D--0---------------0-------------0-------------0-------------0--------------
A------------------------------3----------------------------3------------------
E----------------3---------------------------3---------------------------------
D7 G
For the A - D - E combination, try any easy strumming pattern. Here the ↓ is
the downstroke and ↑ is the upstroke. P shows pluck the base note.
E--------------------------------------------2--2----2--2-----2--2-----2--2--
B---2--2----2--2----2--2-----2--2-----1--1-----1--1----1---1-----1---1--
G----2--2----2--2----2--2-----2--2------2--2----2--2-----2--2-----2---2-
D-----2--2-----2--2-----2--2-----2--2---------------------------------------
A--0----------------0-----------------------------5-----------------5---------
E-----------0------------------0--------5------------------5-------------------
AD
P↓↓P↓↓P↓↓P↓↓P↓↓P↓↓P↓↓P↓↓
Notice that for the A major chord, the bass note begins on the fifth string.
After you play the A and then change to D (as given above), change to E.
This is the third chord in the run. You can also try E7 before you move back
to A.
E--------------------------------------------------------------------------------
B----------------------------3-------2--2------2--2-----2--2-------2--2-----
G---1---1----1--1-----1--1---1--1-----2--2-----2--2---2--2-----2--2-----
D---2--2----2--2-----2--2----2--2-----2--2----2--2----2--2-----2--2-----
A--2--2--2------2--2--2--2--2----2--2---0--------------0------------------
E----------0-----------------0-----------------0------------------0------------
EA
P↓↓P↓↓P↓↓P↓↓P↓↓P↓↓P↓↓P↓↓
You can see the bass notes to pluck shown as bold. This is because the note
you pluck B is part of the chord that you play. The second note to pluck is the
open string note on the sixth string. It is also easy to play the plucking style
by following the notes of the chord and play them one by one.
Learn to Play the Half Note
When you count the notes, each note takes a full count. That is 1-2-3-4; each
will represent one note. When you count 1-&-2-&-3-&-4, each note along
with the & takes half a note. Here in this strumming pattern using the D - G -
A sequence, we use the 1-2-3 count with one full count for 1 followed by
four half notes. The count becomes 1 2-&-3-& 1 2-&-3-& and so on. Play
four notes for the 2-&-3-& with two bars for each chord.
E-----2------2--------2------2---------2------3--------3-------------3-------------------
B------1------1---------1------1---------1-------0-------0----------0----------2----------2-
G-----2------2--------2------2--------2-------0-------0-----------0----------2----------2---
D----0------0-------0-------0-------0-------0-------0------------0---------2----------2-----
A----------5----------------5-----------------2-----------------2---------0-------------------
E--5---------------5---------------3-----------------3-----------------------------0-----------

DGA
Play the notes from left to right, from the bottom to the top. After you finish
D and G, go on to A. Continue A and finish on D. Here is the tablature for
this.
E----------------------------------2-----------2-----------2----------2-----------
B----------2----------2---------1-----------1------------1----------1-------------
G-------2----------2---------2-----------2------------2---------2---------------
D----2----------2----------0-----------0-----------0---------0-----------------
A--0----------------------------------5-----------------------5------------------
E-------------0----------5------------------------5------------------------------
D
You will play all downstrokes until you get the notes and strings right. After
that, you can experiment with upstrokes also. Change the picking style in this
way to see a variation that will make it sound better.
A Variation in the Plucking Style
After you pluck the bass string (fifth or the sixth), play the fourth string with
a downstroke and then follow it with an upstroke on the second string. Next,
play the third string with a downstroke and follow it with an upstroke on the
first string. Now, play the next bass string and repeat the plucking pattern.
Plucking Variation for 1-2-3 Count
Now, we will see the plucking variation for the waltz beat or the 1-2-3 count.
You must pluck the bass string like before, but the pattern for the top four
strings will undergo a change. After you pluck the bass string, play the
fourth, third, and second strings fast in double time. Follow it up with the
third, second, and first strings (all downstrokes) fast. Next, play the other
bass string and then repeat this pattern again.
One variation to this pattern is to play the second two strings from the bottom
to the top instead of all the way down as you always would. That is, after you
play the bass string, play the fourth string, then play the second string
followed by the third string. Go to the third string, play the first string before
you play the second string. Get the bass note and then repeat the pattern.
Remember to put in a half-hour of practice every day. The best guitarists
started as beginners; they got to the top only because they put something in
the others didn't - hard practice.
 Part 2

More Guitar Chords for Beginners

The vocabulary of a guitarist depends on the number of chords he or she

knows. Memorizing more chords helps you play more variations, try more
rhythms, and take part actively in jam sessions. Here will try to get the most
popular chords you could come across, and you can practice them.

Popular Minor Chords

Minor chords combine well major chords; you only must move the root note
up one full note. That is, if you play G minor with F major, they will combine
well. Similarly, you can pair A with B minor and so on. The minor also
combines with the minor chord of their seventh note. If you have a minor, get
the seventh note and form the minor. They will pair well. You can pair Am
(A minor) with Em or C#m with F#m.
C Sharp Minor
We will see three variations of this chord. By using the barre chord, you can
move it up and down to get the other chords. You play the barre chord by
putting your forefinger on the fret and placing the other fingers in the suitable
places. Or, you could use a capo. You can buy it; it will not cost you much,
and it helps you a lot.
E ------|-------|------|------|-----
B ------|--0---|------|------|-----
G --0--|-------|------|------|-----
D ------|--0---|------|------|-----
xA ------|-------|------|------|-----
xE ------|-------|------|------|-----
The key signature of C#m has four sharps, which is why few classical
guitarists choose this scale for their songs. The notes in this chord are C#, E,
and G#, and the open string shape is as shown above.
To play this, put your forefinger on the first fret of the third string. The
second and third fingers go on the second fret on the fourth and second
strings. The x tells you that you should not play the fifth and sixth strings.
Strike the first four strings.
A Sharp Minor
E --0--|-------|-------|------|-----
B ------|--0---|-------|------|-----
G ------|-------|--0---|------|-----
D ------|-------|--0---|------|-----
A --0--|-------|-------|------|-----
E --0--|-------|-------|------|-----
This chord has the notes A#, C#, and F, which are the first, third, and fifth
notes of the root note A#. Its key signature has seven sharps, and the relative
major is C# major.
To play this chord, put your first finger on the first fret across all the strings.
We call this a barre. After this, put your second finger on the second string on
the second fret. Your third and fourth fingers go on the fourth and third
strings on the third fret.
The beauty of this chord is that you can play the Am chord by sliding your
barre down one fret. Yes, it becomes the nut, and the other notes move down
one fret each. You have three notes only, and the chord is Am.
The D Sharp Minor Chord
E ------|--0---|------|------|-----
B ------|-------|------|--0--|-----
G ------|-------|--0--|------|-----
D ------|-------|------|--0--|-----
x A ------|-------|------|------|-----
x E ------|-------|------|------|-----
The key signature of D sharp minor has six sharps. We have the notes A#,
D#, and F# that you count from the root note D#. It's relative major is F#
major.
When you play the D#m chord, your first finger goes on the second fret of
the first string. Your second finger will go on the third string on the third fret.
Now, place your third and fourth fingers on the fourth and second strings on
the fourth fret. Do NOT play the fifth and sixth strings. As before, you can
slip the entire shape down to get the Dm chord. If you move it up one fret,
you get the Em chord.
The G Sharp Minor Chord
E First String O ----|---|---|-o-|---|----|---|
B Second String O ----|---|---|-o-|---|----|-o-|
G Third String O ----|---|---|-o-|---|----|---|
D Fourth String O ----|---|---|-o-|---|-o-|---|
A Fifth String O ----|---|---|-o-|---|-o-|---|
E Sixth String O ----|---|---|-o-|---|---|---|
Fret numbers 1 2 3 4 5 6 7
*The note on the second string the seventh fret is the seventh note. Do not
play it with the original chord.
In this minor scale, we see five sharps. The scale has the notes G#, A#, B,
C#, D#, E. The chord has the notes G#, D#, and B. The way to play is with a
barre on the fourth fret. Hold down the fourth and fifth strings on the sixth
fret.
When we move the chord down four frets, we get Em. That is, G#m goes to
Gm and then down to F#m. From there, it goes to Fm, and finally, on the
fourth step, it reaches Em. By learning this chord, you can play the minor
chords of all the notes. Also, you can add your little finger on the seventh fret
to get the minor seventh chord. The F minor chord is E# minor chord.

Learn the Seventh Chord

Now, it is time to learn the seventh chords. The seventh chord is the regular
chord with an added seventh note. You learn many types of seventh, but you
can get by with the seventh, also called the dominant seventh. Consider the C
scale where you have the notes CDEFGAB. The seventh chord has the note
interval 1 3 5 b7. So, the notes become CEGA#.
Now, let us apply this pattern to D. The notes of the D scale are
DEF#GABC#. The notes of the seventh chord are DF#AC. We have other
kinds of seventh chords preferred by jazz guitarists and rock music players.
Minor 7b5
Also called half-diminished, this chord has the note interval 1 b3 b5 b7. For
C, we get the notes C D#F#A#. It will look like this:
E ------|--O---|------|------|-----
B --O--|-------|------|------|-----
G ------|-------|--O--|------|-----
D --O--|-------|------|------|-----
A --O--|-------|------|------|-----
E ------|--O---|------|------|-----
You can play this chord by putting a barre on the first fret and placing your
second finger on the second fret of the first string. Now, place the third finger
on the third fret of the third string. Beginners will find it difficult to put the
little finger on the sixth string second fret. But you must make an effort
because only then will the fingers stretch.
Minor 7
This chord has the root, minor third, fifth, and flatted seventh degrees of the
major scale. We write this as 1 b3 5 b7.
When we take the A major scale, the notes of the minor 7 chord will consist
of ACEG. For E, the notes of the minor seventh will have the notes EGBD.
E ------|-------|------|------|-----
B ------|-------|------|------|-----
G ------|-------|------|------|-----
D ------|-------|------|------|-----
A ------|--O---|------|------|-----
E ------|-------|------|------|-----
Em7 Chord
E ------|-------|------|------|-----
B --O--|-------|------|------|-----
G ------|-------|------|------|-----
D ------|--O---|------|------|-----
A ------|-------|------|------|-----
x E ------|-------|------|------|-----
Am7 Chord

Learn Major Seventh Chords

The note interval in this is 1 3 5 7, which means that for C scale, we have the
notes CEGD#. This chord gives you the feeling that it is hanging somewhere
and must go fast. Try it; this will pair well with the major chord having the
root on the 5 degree. Here it is G, and so you can play CMaj7 and G. If you
play GMaj7, the fifth note is D so you can pair it with D major. Here we see
how to play CMaj7.
E ------|-------|------|------|-----
B ------|-------|------|------|-----
G ------|-------|------|------|-----
D ------|--O--|------|------|-----
A ------|-------|--O--|------|-----
E ------|-------|------|------|-----
The CMaj7 Chord
We can now check out the GMaj7 chord.
E ------|--O---|------|------|-----
B ------|-------|------|------|-----
G ------|-------|------|------|-----
D ------|-------|------|------|-----
A ------|--O---|------|------|-----
E ------|-------|--O---|------|-----
The GMaj7 Chord

The Minor Major Seventh Chord

In this, we see the root note, minor third, fifth and seventh notes. The note
formula is 1 b3 5 7. A major scale notes are ACEG#. Here is a look at the
Am9 (Maj7) chord.
E ------|-------|------|------|-----
B --O--|-------|------|------|-----
G --O--|-------|------|------|-----
D ------|--O---|------|------|-----
A ------|-------|------|------|-----
x E ------|-------|------|------|-----

Other Important Chords

The Sus4 and Sus2 Chords
In these types of chords, the major (or minor) 3 gets left out. Instead, we
introduce a perfect fourth (or a major second) to give the chord an open
sound. So, the 1 4 5 (1 2 5) pattern replaces the 1 3 5 patterns adding to the
tension on the fifth degree. The 1 3 5 forms the common triad in music.
Changing one of the notes alters the chord and gives it a new dimension.
Here are the suspended chords for D major.
Dsus4 Chord
The notes of this chord are D G A. Here is how the Dsus4 chord looks like:
E ------|-------|--O--|------|-----
B ------|-------|--O--|------|-----
G ------|--O---|------|------|-----
D ------|-------|------|------|-----
x A ------|-------|------|------|-----
x E ------|-------|------|------|-----
Play the second fret on the third string with your first finger. Now, place your
third and fourth fingers on the second and first strings. Do NOT play the fifth
and sixth strings.
Dsus2 Chord
E ------|-------|------|------|-----
B ------|-------|--O--|------|-----
G ------|--O---|------|------|-----
D ------|-------|------|------|-----
x A ------|-------|------|------|-----
x E ------|-------|------|------|-----
The Dsus2 chord is also simple to play. You the third finger on the second
fret of the third string and the second finger on the third fret of the second
string. Play the first four strings alone. You can play the suspended chord for
any root by choosing the proper note interval.

The Major Chords

One must know these basic chords to become an expert. These chords have
the note interval 1 3 5; we play it in several ways on the fretboard. You
already know C, A, G, E, and D chords in their open string positions. You
must learn F and B to complete your repertoire of major chords. Let us begin
with the F major chord.
F Major
E --O--|-------|------|------|-----
B --O--|-------|------|------|-----
G ------|--O--|------|------|-----
D ------|-------|--O--|------|-----
A ------|-------|--O--|------|-----
E --O--|-------|------|------|-----
This is a barre chord. You can move it up two frets to get the second position
of the G chord. Or, move it even further up two frets to get the next position
of the A chord. Here is how you play it.
Put the forefinger on the first fret across all the strings (an alternative is to
press the first two strings alone). Then place your second finger on the third
string on the second fret. The third and fourth fingers go on the fifth and
fourth strings on the third fret.
A point to note here is that the major note - that is dominant is on the third
string. Remove it and keep the barre in place, and you get the minor chord.
Try it; you learn two chords at the same time.
So, if you want G# minor, put the barre on the fourth fret and play the fifth
and fourth strings with your third and fourth fingers. Move it up two frets,
and you have A# minor.
B Major Chord
E ------|--O---|-------|------|-----
B ------|-------|-------|--O--|-----
G ------|-------|-------|--O--|-----
D ------|-------|-------|--O--|-----
A ------|--O---|-------|------|-----
E ------|--O---|-------|------|-----
Play the barre on the second fret (you can also play the chord by putting your
forefinger on the second fret of the first string). Place your second, third, and
fourth fingers on the fourth, third, and second strings on the fourth fret. Or,
you could play a second barre on the fourth fret using your third finger.
Here the dominant is on the second string. So, to get the minor chord, all you
must do is move the note on the second string down one fret. To do this, play
the second-string note with your second finger and place your third and
fourth fingers on the fourth and third strings. Move it up, and you get a C
minor chord. Or, drop the B down one fret to get A# major.

What are Power Chords?

Power chords appear in rock music more than anywhere else. Guitarists also
refer to them as fifth chords because we use the root note and the fifth to
make these chords. Let us begin with one simple power chord - F power
chord.
The First Position of the Power Chord
E ------|-------|------|------|-----
B ------|-------|------|------|-----
G ------|-------|------|------|-----
D ------|-------|--O--|------|-----
A ------|-------|--O--|------|-----
E --O--|-------|------|------|-----
The notes are F and C. You can form the G power chord by moving up this
chord two frets. Another feature of the power chord is that the root note is on
the sixth string.
Power chords work on the fifth string also. Check out this D power chord
played with the root note on the fifth string.
D Power Chord
E --|---|---|---|---|---|----|---
B --|---|---|---|---|---|----|---
G --|---|---|---|---|---|-o-|---
D --|---|---|---|---|---|-o-|---
A --|---|---|---|-o-|---|---|---
E --|---|---|---|----|---|---|---
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Use the mute action with the palm when you play the power chord. This
helps you control the rhythm.

A Seventh Chord You Haven't Learned Yet

The chord you didn't learn is the E7 chord. Here is what the shape looks like.
The E7 Chord
E ------|-------|------|------|-----
B ------|-------|--o--|------|-----
G --o--|-------|------|------|-----
D ------|--o---|------|------|-----
A ------|--o---|------|------|-----
E ------|-------|------|------|-----
Play the E chord and then play the seventh note on the second string. The
notes of this chord are B E G#D. Put your first finger on the first fret of the
third string. Your second and third fingers go on the second fret on the fifth
and fourth strings. Now, place your little finger on the third fret of the second
string. Note that you will get the sixth by moving the seventh note down one
fret. What happens when you move the entire shape up one fret? Yes, you get
the F7 chord, but don't play the first and last strings.

Popular Chord Combinations

For beginners, the eagerness to play a few songs begins as soon as one has
mastered a few basic chords. So, here it goes. Let us begin by learning the
chord combinations for some popular numbers and then go on from there.
G - D/F# - Em7 - Cadd9
You can play a great many songs using these chords. Don't worry too much
about the names; they show the shape of the chord. For instance, add 9 tells
you to add the ninth interval to the basic C major chord. This is the second
note after the octave, so you get D. The shape of this chord is like this:
E ------|-------|--o--|------|-----
B ------|-------|--o--|------|-----
G------|-------|------|------|-----
D ------|--o---|------|------|-----
A ------|-------|--o--|------|-----
x E ------|-------|------|------|-----
Cadd9 Chord
Do NOT play the sixth string. Fairly simple to play, place your first finger on
the second fret of the fourth string. Leave the third string open. Now, put
your second finger on the third fret of the fifth string. The next two fingers go
on the second and first strings on the third fret. You can dampen the sixth
string with your thumb.
The next chord is D/F# (read D slash F sharp). It means that we have added
the F# base note to the D chord. The shape of D/F# is like this:
E ------|--o---|------|------|-----
B ------|-------|--o--|------|-----
G ------|--o---|------|------|-----
D ------|-------|------|------|-----
x A ------|-------|------|------|-----
E ------|---o---|------|------|-----
D/F# Chord
The effortless way to play this chord is by holding the sixth string note on the
second fret with your thumb and playing the third-string note on the second
fret with your first finger. Put your second finger on the first string on the
second fret and the third finger on the third fret of the second string. Take
care not to sound the fifth string.
The other two chords in this group are Em7 and G. You already know them,
but we give it here for your easy reference.
E ------|-------|--o---|------|-----
B ------|-------|--o---|------|-----
G ------|-------|-------|------|-----
D ------|--o---|------|------|-----
A ------|--o---|------|------|-----
E ------|-------|------|------|-----
Em7 Chord
E ------|-------|--o---|------|-----
B ------|-------|--o---|------|-----
G ------|-------|------|------|-----
D ------|-------|------|------|-----
A ------|--o---|------|------|-----
E ------|-------|--o---|------|-----
G Major Chord
These chords are slightly more difficult to play, but it will help you play
many songs including It means Nothing with G, Cadd9, and Em7, Zombie
using Cadd9, D/F#, Em and G6, and Knockin' on Heaven's Door with G, D,
Am, and C. The songs are by Stereophonics, Cranberries and Guns N' Roses.
Moving on, let us learn one or two more chords and tackle another bunch of
songs. Here are the chords:
E ------|-------|--o--|------|-----
B ------|-------|--o--|------|-----
G ------|-------|------|------|-----
D ------|-------|------|------|-----
A ------|--o---|------|------|-----
x E -------|------|------|------|-----
G/B Chord
E ------|-------|--o--|------|-----
B ------|-------|--o--|------|-----
G ------|--o---|------|------|-----
D ------|--o---|------|------|-----
A ------|-------|------|------|-----
x E ------|-------|------|------|-----
A Sus Chord
E ------|-------|--o--|------|-----
B ------|-------|--o--|------|-----
G ------|-------|------|------|-----
D ------|-------|------|------|-----
x A ------|-------|------|------|-----
E ------|--o---|------|------|-----
G/F# Chord
You can play songs like A Thousand Years, Good Riddance, and More Than
Words if you learn these chords. They are by Christina Perry, Green Day, and
Extreme.
To play G/B, put your forefinger on the second fret of the fifth string. Now,
place your third and fourth fingers on the second and first strings. Do not play
the sixth string. To play the A sus chord, press the fourth and third strings
with your first two fingers on the second fret. Hold the second and first
strings with your third and fourth fingers on the third fret. Do NOT play the
sixth string.
Now for the G/F# chord, play the sixth string E with your thumb. Avoid
striking the fifth string. Play the second and first strings with your third and
fourth fingers on the third fret.

Learn Extended Chords

We call the ninth, 11th, and 13th as extension chords used by jazz guitarists.
The notes of the major scale have 7 notes and the octave note. We write these
as 1 2 3 4 5 6 7. We form the extended chord by adding the second, fourth,
and sixth-degree to the octave note. So, the ninth chord is the major plus the
second (7 + 2), and the 11th chord is the major pattern along with the fourth
degree (4 +7). Here are the notes and the way the shape looks.
Ninth Chord Formulas
We can form the extended chord for the major, minor, dominant 9 and Add 9
scales. (You can form it for any scale). The first one is the major scale that
has the note interval 1-3-5-7-9. Let us consider the D major scale, which has
the notes DEF#GABC#. And the notes of the D9 are DF#AC#E. The shape
of the chord is like this:
E --|---|---|---|O-|---|---
B --|---|---|---|O-|---|---
G --|---|---|---|---|O-|---
D --|---|---|O-|---|---|---
A --|---|---|---|O-|---|---
x E --|---|---|---|---|---|---
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D Major9 Chord
To play this, put your first finger on the fourth fret of the fourth string and
place your second finger on the fifth fret of the fifth string. The third finger
will press on the first two strings on the fifth fret while the fourth finger will
hold the third string on the sixth fret. Finding it difficult? See this alternative
pattern given below.
E ------|-------|------|------|----- E
B ------|---O--|------|------|----- C#
G ------|---O--|------|------|----- A
D ------|-------|------|------|----- D
x A ------|-------|------|------|-----
x E ------|-------|------|------|-----
You do not have F#, but you have the ninth extension, and if that is what you
need to play the song, then you have this easy way out for you. Next, let us
look at some minor 9 chords.
For this, let us take the G m9 chord. The note interval is 1-b3-5-b7-9, and that
gives us the notes GA#DFA. A# is b3, 5 is D, b7 is F, and the 9 interval is A
(second degree after the octave completes). Note that the notes of the G major
scale are GABCDEF#. Here is the shape of the chord.
x E ------|-------|------|------|-----
B ------|-------|--O--|------|-----
G ------|-------|--O--|------|-----
D ------|-------|--O--|------|-----
A ------|-------|------|------|-----
E ------|-------|--O--|------|-----
Play all the strings except the first string. Use the first finger to play the sixth
string and use the other fingers to play the second, third, and fourth strings.
The next one in line is Dominant 9 that has the note pattern 1-3-5-b7-9. Let
us take A major this time and see what we get. The notes of A major scale are
ABC#DEF#G#. We flat the seventh and add the ninth interval. The seventh is
G#, and the ninth is B. So, the A Dominant 9 has the notes AC#EGB. Here is
the shape of the ADom9 chord.
E ------|-------|--O--|------|-----
B ------|--O---|------|------|-----
G ------|-------|------|--O--|-----
D ------|--O---|------|------|-----
A ------|-------|------|------|-----
x E ------|-------|------|------|----
Play the first five strings. Play a barre on the three strings from two to four
with your forefinger. Put your second finger on the third fret of the first
string. Now, place the third finger on the fourth fret of the third string. Or,
you could use the first finger on the fourth string on the second string and the
second finger on the second fret of the second string. Place the third finger on
the third fret of the first string and the fourth finger on the fourth fret of the
third string. Also, play the open fifth string A.
We will see one more chord in this series, and that is the Add9 chord. Let us
take G# as the root note. This is a major theoretical scale meaning it will have
double sharps (or double flats). It has 6 sharps and 1 double sharp. The notes
are G#A#CC#D#FG. We add the ninth that is A# to the major interval
G#CD#. The b7 is F#, so the entire note pattern is G#CD#F#A#. The Add 9
chord has the note interval 1-3-5-9. Please note that you can omit the fifth
here while playing the chord. Here is the shape of the chord.
E ------|--O---|------|------|-----
B --O--|-------|------|------|-----
G --O--|-------|------|------|-----
D --O--|-------|------|------|-----
A --O--|-------|------|------|-----
E ------|-------|------|--O--|-----
The G#Add9 Chord
Play the barre on the first fret with your forefinger. Your second finger will
go on the second fret of the first string. Place your fourth finger on the fourth
fret of the sixth string.

The 11th Chord Formula

The next extended chord you should learn is the 11th chord. The major chord
has the formula 1 3 5 9 11. Let us consider the root D#. The notes of the
major scale (key signature has two sharps) are D#FGG#A#CD. The ninth
interval is F, and the 11th interval is G#. This gives us the formula
D#GA#FG#. Here, we see G as a double sharp of F. We play the simple
shape from the third fret.
E --0--|-------|------|------|-----|------|------|-----
B ------|--0---|------|------|-----|------|------|-----
G --0--|-------|------|------|-----|------|------|-----
D --0--|-------|------|------|-----|------|------|-----
xA ------|-------|------|------|-----|------|------|-----
xE ------|-------|------|------|-----|------|------|-----
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The D#11 has notes on the first four strings. Play the barre on the first fret for
four strings. Put your finger on the second fret of the second string. Another
variation is this one we play from the sixth fret.
E ------|-------|------|------|-----|--0--|------|-----
B ------|-------|------|------|-----|--0--|------|-----
G ------|-------|------|------|-----|--0--|------|-----
D ------|-------|------|------|-----|--0--|------|-----
A ------|-------|------|------|-----|--0--|------|-----
xE ------|-------|------|------|-----|------|------|-----
1234567
This is simple, play a barre on the sixth fret for the first five strings. Do NOT
sound the sixth string. Next, we will study the minor 11 chords.
The Minor 11 Chord
This has the note interval 1-b3-5-b7-9-11, which is the Root, flatted third,
perfect fifth, flatted seventh, ninth, and 11th.
Let us take the root B that has BC#D#EF#G#A#. The ninth is C#, and the
11th is E. We have b3 as D and b7 as A. The B minor 11 becomes
BDF#AC#E. The chord shape is as follows:
E ------|-------|------|------|--0--|
B ------|-------|--0--|------|------|
G ------|--0---|------|------|-----|
D ------|--0---|------|------|-----|
A ------|--0---|------|------|-----|
x E ------|-------|------|------|-----|
Play the barre on the second fret for the bottom four strings. Put the second
finger on the third fret of the second string. Your little finger will go on the
fifth fret of the first string. Another simple way is to play the barre chord on
the 11th fret for all the strings.
The Dominant 11 Chord
For the Dominant 11 the key interval is 1-3-5-b7-9-11. While playing this
chord, you may omit the fifth and the ninth. The notes of the root F# are
F#G#ABC#D#F. We have b7 as E, the ninth is G#, and the 11th is B. The
F#Dom 11 becomes F#AC#EG#B.
E ------|-------|------|--0--|-----|
B ------|-------|------|------|--0-|
G ------|-------|------|--0--|-----|
D ------|-------|------|--0--|-----|
x A ------|-------|------|------|-----|
x E ------|-------|------|------|-----|
Play a barre on the fourth fret with your forefinger. Your second finger goes
on the fifth fret of the second string. Do NOT play the fifth and sixth strings.
An easy alternative is to play the barre on the ninth fret for the top five
strings. Do NOT play the sixth string.
The 13th Chord Formula
In this chord, we add the seventh, ninth, 11th, and thirteenth intervals to the
major (or minor) chord. Let us start with a major 13.
The C#13 is the major chord with an extra sixth note, but it doesn't replace
the seventh as we see in the C#6. Also, there are the second (D#) and fourth
(F#) intervals. The C# scale has the notes C#D#FF#G#A#C.
This gives us the notes 1-3-5-7-9-11-13 in the C#13 - C#E#G#B#D#F#A#. It
has the same notes as the C# major scale. Here is the shape of this chord:
E ------|-------|------|------|-----|--O--|------|-----
B ------|-------|------|--O--|-----|------|------|-----
G ------|-------|------|--O--|-----|------|------|-----
D ------|-------|------|--O--|-----|------|------|-----
A ------|-------|------|--O--|------|------|------|-----
x E ------|-------|------|------|------|------|------|-----
1234567
Play the barre with the forefinger on the fourth fret for the top five strings.
Put your third finger on the sixth fret of the first string. Do NOT play the
sixth string. This is a 7(sus4) chord with an added sixth note. This will
include a ninth, but you need not write in the chord notation.
The Minor 13th Chord
This chord helps to make a minor chord sound rich. It is impossible to
include all the notes on the guitar, and so we exclude some on purpose. There
are seven tones of the 13th chord, namely:
Root
Minor third
Fifth
Minor seventh
Ninth
11th
Thirteenth

So, we can think of the 13th chord as a minor seventh to which we added
ninth, 11th, and the thirteenth intervals. Or, it could be a minor ninth chord
with added 11th and 13th.
Here we take the root E so that the notes are the minor notes EGC and the
seventh is D. We add the 11th (4+7) B and 13th (6+7) C# one octave higher.
We have EGDBC#. The shape of the chord is like this:
E ------|-------|------|--
B ------|---O--|------|-
G ------|-------|------|--
D ------|-------|------|--
A ------|---O--|------|--
E ------|-------|------|---
123
Here you can play all the strings, and all you must play is two strings, the
second and the fifth on the second fret.
The Dominant 13 Chord
The Dominant 13 chord has the note interval 1-3-5-b7-9-11-13. We can omit
the fifth, ninth, and 11th notes.
Let us take the root note to be D#. The notes of the major scale are
D#FGG#A#CD. Other notes are b7 - C#, 9 - F, 11 - G#, and 13 - C. The
entire note interval becomes D#GA#C#FG#C. We only need to include the
seventh and 13th to get the complete chord. Play the root note as the lowest
note always (on the fifth or sixth string).

E ------|-------|------|------|-----|-------|--o---|----
B ------|-------|------|------|--o--|-------|------|----
G------|-------|------|------|--o--|-------|------|----
D------|-------|------|--o--|------|-------|------|----
A------|-------|------|------|--o--|-------|------|---
x E------|-------|------|------|------|-------|------|---
12345678
Here we have five strings with the root D# on the fifth string. We do NOT
play the sixth string. Put the first finger on the fourth fret of the fourth string
and the second on the fifth fret of the fifth string. Put a tab on the second and
third strings on the fifth fret. Now place your little finger on the seventh fret
of the first string.
Learning More Chord Progressions
If you don't know the way to the supermarket and you are a child, what do
you do? You go to the corner and ask someone. Then, you go a little more
and then ask someone else again. It is the same way when you sing a song.
You play one chord and then go some distance and then change to the next
chord. We call this kind of chord movement a chord progression. Let us see
how to write these progressions.
Take the C scale; the notes are CDEFGABC. You start with the root note; in
this case, C. Then, you stack the triads on top of it. The first thing to do is to
stack the third and the fifth. That is, E and G. So, the triad is CEG for the C
chord. This is one of the primary triads called the major triad built on the
major third. The other one is the minor triad built on the minor third. We
write the major triad as 1 3 5 and the minor triad as 1 b3 5.
This means that we flat the third in the minor chord.
Triads rely on the tonic, dominant, and subdominant degrees that have roots
on the first, fourth, and fifth degrees (I, IV, and V). Note that the other
degrees of the scale have the notation ii, iii, vi, and vii. The degrees ii and iii
are minor chords while the vii stays as the diminished chord. So, the entire
progression is C, Dm, Em, F, G, Am, and Bdim.
The secondary triads are Dm, Em, and Am in C major. And, in Am, it is
Bdim, C, and F.

First Common Pop Music Chord Progression

In western music, the most popular progression is I-V; vi - IV. You can use
any root and use the proper chords. For instance, if you use the root G, the
other chords are G - D; Em- C. Hundreds of songs use this chord progression
with many different roots. With or Without You by U2, No Woman No Cry
by Bob Marley, Sleepwalking by Canton, and Let it Be by The Beatles use
this chord progression. This works because the chords oppose each other
well. The V chord opposes I while the IV chord opposes vi.

The Second Music Chord Progression

The next popular chord progression is I vi IV V. It is popularly known as the
50s progression because it was popular during the 50s. Let us take D as the
root. The chord progression becomes D Bm G A. Some of the songs that use
this chord progression are Baby by Justin Beiber, All I Have to Do Is Dream
by Everly Brothers, Dura by Daddy Yankee, and Eternal Flame by The
Bangles.

Tips to Learn Guitar Chords the Correct Way

When one is starting out, there are many things that can go wrong. It might
be the grip, or it could be the choice of chords. If you learn something wrong,
you must put in twice the effort to get it right again. And, at times, if the
going gets tough, you give up. Don't give up! You choose a tough chord to
learn and decide that music is not for you. Wrong, playing music is about
taking small steps, each a delicious bite that gets you a few more steps toward
the end of the song.
There is a song you must sing and hurry up to do it. Here are a few pointers
that help it will help you avoid serious mistakes and keep on track.
Avoid the Death-Grip at Any Cost
Mistakes cost a lot to correct. We call it the death-grip because it resembles
the stranglehold one uses to choke a person to death. Well, not exactly, but
the result is the same. Newbies tend to hook their thumbs over the top of the
neck to get more power in their fingers. If left unchecked, this can lead to the
death-grip.
The correct thing to do is to place the thumb behind the neck so that you can
apply more pressure to the frets. Pressing too hard on the strings is not a good
idea; it might create a false note. You must use the fingertips, so you don't
touch adjacent strings while playing. When you start out, your wrist will not
have any strength. As you keep on playing, it will improve, and you will have
a comfortable grip and good speed while playing.
Know the Chord You Play
Many beginners practice a lot, but they don't pay attention to what they play.
Most of the time, it is a "kind of C chord" or "a Major type of thing," and
they don't really know what they play. This can confuse you and make you
lose interest. Many people use the "Chord Finder" software that can instantly
recognize the chord you play. Others use an instructor who guides them and
tells them what is correct and where they go wrong. But, when you play by
yourself, it is only correct to check the chord shape and read the name,
familiarize yourself with the notes, and then play the chord. Try to check if
you have all the notes by looking at the stings you play. Within two months,
you will not only know what you are playing but you’ll also be able to find
the notes.
Read Some Music Theory
Music theory teaches you why you select the notes and how they become
what they become. Reading music theory means familiarizing yourself with
note patterns. This will increase your knowledge of music. You will learn
how playing a note one fret higher will shut out one door while creating the
passage into a new world. It can also improve your skills if you develop the
skill to play the right note always through practice. It is the path to greatness,
so don't spare yourself on this one. Put in as much time as you can each day.
Find the best corner in the house to find isolation and peace. Music theory
begins with familiarizing with the notes of the scale.
Learn the Importance of Barre Chords
Shapeshifters are all right, but the ones that stay constant can bring the best
change to your life. The barre chord is a simple technique of improving your
guitar play. Put the forefinger where you want on the fretboard. This could be
the first fret or 14th. It allows you to get access to the entire range of chords
using one single shape!
For instance, if you use the E Major shape. That is, you put the middle finger
on the third string and the third and fourth fingers on the fourth and fifth
strings. The barre comes before the middle finger, and if this coincides with
the nut, you have the E major. Move it up by three frets, and you have the G
major. Move it up further two frets, and you have the A major chord.
It is not only the major chords that you can play with the barre. You can play
any chord and move it about the fretboard to get an entire range of tones and
music.
Play Difficult Chords Daily
Yes, some chords are impossible for the beginner. The fingers do not stretch
that much, and you are ready to give up. The more effort you put in, the more
your fingers will stretch. It needs the effort, and unless you put in the effort,
you are not going to become a master of the guitar.
Note all the difficult chords and play each of them once or twice each day.
See how it becomes easy, day by day.
Practice in Standing and Sitting Positions
Begin with the sitting position, and you will soon have the feel of guitar play
flowing in your blood. But, don't ignore the standing position. This is your
main line because once you start giving shows, you will have to play standing
and to move around with the guitar strung on a belt hanging from the neck.
The standing position will put a strain on your guitar playing because you
will have to play through by feel rather than by sight. This involves getting
the right strap because if it is longer, the instrument will hang low, making it
a strain to play it. If it is too tight, then it will remain high up in the chest.
Begin with Open String Chords
To keep your interest levels high, one must start with and play more open
string chords. These chords have only three notes to hold down most of the
time. This will make the play easy. The sound of the open chords is vibrant,
and this will boost the confidence levels while learning the chords. Choose
related chords - major and related minor chords or related diminished and
minor chords. Or, pick the chords of the song you want to learn.
Compile the Chord Diagrams
Chord diagrams are present everywhere, but you will lose them if you don't
pay attention. When you see the chord diagram for a song, you know, then
write it down and file it on your computer.
Separate the difficult chords so you can practice them daily. Use a separate
sheet for open string chords and use them often for popular songs. Check
how different chords combine with others, especially seventh chords. If you
have an interest in singing rock songs, learn the power chords well.
Check and Use the Correct Fingering
While playing the chords and practicing the scales, make sure you use the
right finger for the proper note. If you learn wrong, you will have to relearn
the entire thing again. The right fingering will help you improve your fluency
and the speed with which you play the guitar. If there is no fingering
mentioned, do not use your fingering. Ask someone who knows.
Use a Metronome
A metronome is a rhythm machine that you can adjust to get more speed or
slow it down. The metronome helps you improve your timing and speed of
guitar play.
How to use the metronome: The device gives a periodic beep once you plug
it in and switch it on. Once the beeps start sounding, play the notes of the
scale in time to the beeps. Start with one note and repeat it until you get the
timing right.
You can strum to the song you want to learn along with the metronome. First,
set the timing by playing the original song. After that, sing and strum along
with the metronome.
Discipline and Silent Rehearsing
Do not let any distractions get in the way of guitar practice. And, there is no
compulsion that you must make a loud sound to be right. If you strum
without any sound, it will help you move your fingers faster. It will help
increase your confidence and learn to finger faster.
Look Away Now and Then
Fixed-eye syndrome can kill the initiative. When you put the chair down to
sit, adjust, so it doesn't face the same direction every day. Also, move it
around every few days, so it refreshes you.
Once you start playing, don't look at the same spot all the time. You may not
have a single spot to look at, but even then, turn your head away
occasionally. This will keep the cricks in your neck away and stop headaches
before they happen.
Listen to Music Sometime
The practice is not about "doing it" all the time. At times, you can listen to
others play and find what you are doing right and where you can improve.
Also, listen to different kinds of music, it will help you find your groove and
change the way you interact with music. You can attend concerts or music
shows in the locality or watch it on the television. You must interact with the
music. It must give you a rush or an emotion when you realize you know the
chords the musicians are playing. You can relate to the notes you hear, and
this helps you develop a perspective that you did not have before.
Speed is Not Important
Remember this because many of the beginners think that speed matters. What
is more important is accuracy. So, even if you are playing slow, play
correctly. This will help you develop speed and use it when needed. Try to
improve your technique, the way you hold the guitar, the way you play some
notes loud and other softly, and the way you change the chords. Also,
develop a swing to the body movement so that you are always able to relate
to the rhythm. Even when you sit, keep time with the foot so that you can
coordinate the chord changes.
Look for Inspiring Idols
When you have played for a week or two, you will begin to feel deflated. The
thought of touching the guitar will seem horrendous, and the world will seem
empty. This is the time when an idol will help you. If you aspire to become a
rock musician, a good idol will be one of these:
B. B. King
Keith Richards
Eddie Van Halen
Slash
Eric Clapton
Jimmy Page
Jimi Hendrix

Of course, there are scores of others who qualify for the top spot, and it is a
personal preference. Get their posters, posters of their albums, buy rock
music T-shirts, and become a fan. Become the biggest fan; you will get to the
other side faster.
If you are a country music guitarist, look for one of these stars:
Merle Travis
John Denver
Hank Garland
Glen Campbell
Brad Paisley
Luther Perkins
Keep updating your idol, get their latest album, and write the words of the
songs down. Check the chord progressions and see if they deviate from their
style at any point.

Reasons for Failure to Learn the Guitar

Some people seem to excel at anything they do, and then others simply can't
get anything right. If you are one of the types who need help getting on
course in your guitar practice, the best way forward is to check the reasons
for failure.
Lack of motivation - This is a common complaint, and most of us go through
this because the human mind stays limited in what it can achieve. When you
reach saturation, the brain shuts down; inspiration stops flowing down the
mountain we set up. What do we do? The best thing to do is to wait. Take a
break, give the mind the chance to recharge, and then have another go at it.
Other things you can do is select a type of music you want to play like rock
music or country music. Select the songs and write three of four down.
Practice them and then get on to another set of three of four songs.
Also, join up with a group of guitar enthusiasts. This will keep you amped up
all the time. You will learn about music, and the others will keep you on your
toes. If you have any doubts, you can ask them to clear it for you.
You are so old - There is nothing that can stop a determined person, not even
his or her age. You could say that you don't have the time or space (though
they are also not a valid reason for not playing), but you should never say you
are too old.
Any hobby or leisure-time activity begins when your mind has finished
achieving all that it can. It means that it goes beyond running and jumping
and anything else you do in your leisure time. Playing a musical instrument is
an activity that has no physical intensity associated with running or even
walking.
Music inspires because of its intrinsic energy, no kidding. When you play the
guitar, the vibrational energy adds to your inner energy, and if you remember
the music, the energy stays with you. So, don't kid yourself saying you are
too old, simply play the guitar and see the difference.
Lack of aptitude for music - Remember the music greats The Beatles and Eric
Clapton knew nothing about music when they began. You have also started,
and the only thing you want to do is to go on. It doesn't matter how long it
takes; you must become the master you aimed to become.
If someone else tells you that you lack aptitude, ignore them. They are
probably jealous. Aptitude is not defined by what others see in you; it is what
you have in you. So, go ahead and prove it...to yourself.
There is no time to practice - Every leisure activity needs a separate
allocation of time. Whether you put that time to good use or choose to
squander, it is up to you. Nobody else is going to come and hold your hand
and tell you what to do. You must make up your mind that there are going to
be guitar lessons to learn and then stick to the schedule as best as you can.
Start with 10 minutes each day. Soon, you will realize that 10 minutes are not
enough. But, don't push it too soon, you might suffer burnout.
You don't have the money - Guitar lessons cost money. This is one big
obstacle for many who want to make it big on the musical scene. But, think
about the many people who succeed without any money. Think about how
they turned the tide and reached where they are now. You also can do the
same if you put your mind to it. There is only one way, and that is to take the
road to success. You don't need the money to reach the top, start learning on
your own. Use the internet and get help over your phone.
The progress is not there - This is a serious showstopper. If you are still
figuring out where to put your finger after the end of the week, stop. You are
not doing things the right way. There is a mental block that you must tackle
first.
Get help from a friend or neighbor. Ask them for their opinion on how to
learn the guitar. They will know right away what is not going right for you.
Or, take a few paid classes to get started. Once you learn the basics the right
way, you are ready to go it alone.
Your parents do not support you - Yes, when you are young, your parents
must support you in every way they can. But, if they don't, it is not the end of
the world. Pull your socks up and give it the best shot; you will succeed. Get
support from your friends or join a local guitar playing club. It is important
that you socialize and find the guitar players in your social circles. Get
together with them, and then you can have the support you want.
Practice Chord Changes
Guitar playing is all about coordination. Your fretting and strumming hands
must work together like a farmer in the field, gathering his grain with the
sheaf in his right hand and the left-hand gathering bunches of grain. The
coordination gets better with practice, and so we have this lesson. Here you
will practice a few important chord changes and work on them until you have
a smooth and fluent movement.
Change from E to D
These are open chords meaning you don't have to play all the strings to sound
the chord. To play the E chord, you press on the first fret of the third string.
Use your third and fourth fingers to press the fifth and fourth strings on the
second fret. Now, play all the strings.

E --|---|---|-
B --|---|---|-
G o|---|---|-
D --|-o-|---|-
A --|-o-|---|-
E --|---|---|-
The second chord is D, where we play the bottom four strings alone. Put the
first finger on the third string second fret and the second finger on the first
string second fret. Your third finger goes on the third fret of the second
string.
E --|-o-|---|-
B --|---|-o-|-
G --|-o-|---|-
D --|---|---|-
A --|---|---|-
E --|---|---|-
Move from E to D and then back to E. Use a simple strumming pattern like 1-
2-3-4. Either use only downstrokes or combine them with upstrokes.
Change from Am to Em
To play Am, you must hold down three strings, and for Em, you hold down
two strings.
E ---|----|---|-
B -o-|----|---|-
G ---|-o--|---|-
D ---|-o--|---|-
A ---|----|---|-
E ---|----|---|-
This is Am where you put your first finger down on the first fret of the
second string. Then, place both the second and third fingers on the second
fret. They go on the fourth and third strings.
E --|---|---|-
B --|---|---|-
G --|---|---|-
D --|-o|---|-
A --|-o|---|-
E --|---|---|-
This is the Em chord. Put both the first and second fingers on the second fret.
They go on the fifth and fourth strings.
Play Am four times and switch to Em. After four bars, go back to Am. Try
plucking the fifth and sixth strings and playing these chords to a 1-2-3 time.
Change from G to Am
We need to press three strings for both these chords. For G, we use the first
string and the bottom two strings. The notes are on the third fret of the first
and sixth strings (use the third and second fingers) and on the second fret of
the fifth string (use your first finger).
E --|---|-O-|-
B --|---|----|-
G --|---|----|-
D --|---|----|-
A --|-O|----|-
E --|---|-O-|-
The second chord is Am. You already have this chord, but you have it here
for your reference.
E --|---|---|-
B O|---|---|-
G --|-O|---|-
D --|-O|---|-
A --|---|---|-
E --|---|---|-
Use the same 1-2-3 timing and pluck the fifth and sixth strings on the count
of 1. Instead of strumming (playing all the strings), try playing all the strings
one by one. Play one of the bass strings and play all the strings from the
fourth string down to the first string.
Change from F to Dm
E -o|---|---|-
B -o|---|---|-
G --|-o-|---|-
D --|---|-o-|-
A --|---|-o-|-
E -o|---|---|-
To play F, put a barre on the first fret. Place your second finger on the third
string. This will go on the third fret. The third and fourth fingers will go on
the fifth and fourth strings. This will be on the third fret. The second chord is
Dm.
E -o|---|---|-
B --|---|-o-|-
G --|-o-|---|-
D --|---|-o-|-
x A --|---|---|-
x E --|---|---|-
Here you need to play only the top four strings. Your first finger must go on
the first fret of the first string. Your second finger will go on the third string
on the second fret. The third and fourth fingers will go on the fourth and
second strings on the third fret.
Move from F to Dm and then back to F. Use a simple up and down
strumming action.
You could also use the plucking pattern to play these two chords.
Change from C to Dm
You could go from C to Dm or the other way around. You will need three
fingers for playing C and four fingers to play Dm. You can also link F to this
chord sequence, but it is not essential. Here is how you play C and Dm.
E --|---|---|-
B -o|---|---|-
G --|---|---|-
D --|-o-|---|-
A --|---|-o-|-
x E --|---|---|-
The first chord is C. Your first finger must go on the first fret of the second
string. Then, press the fourth string down on the second fret with your middle
finger. Your third finger will go on the fifth string on the third fret. Do NOT
play the sixth string. The second chord is Dm.
E -o|---|---|-
B --|---|-o-|-
G --|-o-|---|-
D --|---|-o-|-
x A --|---|---|-
x E --|---|---|-
You already know how to play this. Take care not to sound the bottom two
strings.
Change from Cadd9 to Em
Cadd9 is a wonderful sounding chord and will add variety to your guitar play.
E --|---|---|-
B --|---|-o-|-
G --|---|---|-
D--|-o-|---|-
A --|---|-o-|-
x E --|---|---|-
And it is easy to play. There are three notes in this chord. Put the first finger
on the second fret of the fourth string. The second finger goes on the third
fret of the fifth string, and the third finger will go on the third fret of the
second string. Do NOT play the sixth string.
The second chord is Em. You already know how to play this chord. The
chord diagram is for your reference.
E --|---|---|-
B --|---|---|-
G --|---|---|-
D --|-o|---|-
A --|-o|---|-
E --|---|---|-
Change from Em9 to G11
These are exotic chords that will combine with a lot of other chords. Here is
the shape of the Em9 first.
E --|-o-|---|-
B --|---|---|-
G --|---|---|-
D --|---|---|-
A --|-o-|---|-
E --|---|---|-
So easy to play, Em9 has two notes on the second fret. One is on the fifth
string, and the other is on the first string. Use the first finger and the third
finger to play these notes.
The Next Chord is the G11
E -o-|---|---|-
B -o-|---|---|-
G ---|---|---|-
D ---|---|---|-
A ---|---|---|-
x E ---|---|---|-
There are two notes on the first fret. They are on the first and second strings.
Do NOT play the sixth string. Use your first two fingers to play the notes.
Change from G6/9 to D sus2
Practicing these chord changes helps you play a variety of music, including
indie and rock music. So, try to change fast and try different strumming and
plucking styles. Here is the G6/9 chord shape.
E ---|---|---|-
B ---|---|---|-
G---|-o-|---|-
D ---|---|---|-
A ---|-o-|---|-
E ---|---|-o-|-
You must hold down three strings, the sixth, fifth, and the third. The third and
fifth have notes on the second fret. The sixth string has its note on the third
fret. Use your first finger for the note on the fifth string. The third finger will
hold the sixth string note, and the third finger goes on the third string.
E ---|---|---|-
B ---|---|-o-|-
G---|-o-|---|-
D ---|---|---|-
A ---|---|---|-
x E ---|---|---|-
This is the D sus2 chord. You must hold only two notes. They are on the
second and third strings. Use the first two fingers to play the notes. Do NOT
play the sixth string.
Change from D7sus9 to A5 add9
E ---|---|---|-
B -o-|---|---|-
G ---|---|---|-
D ---|---|---|-
x A ---|---|---|-
x E ---|---|---|-
You only need to hold one note down in this chord. Press the first fret of the
second string with your first finger. Do NOT play the fifth and sixth strings.
This is the D7sus9 chord.
E ---|---|---|-
B ---|---|---|-
G---|-o-|---|-
D---|-o-|---|-
A ---|-o-|---|-
x E ---|---|---|-
The next chord is the A5 add9. For this, you must hold down three notes.
They are on the second fret. The notes are on the third, fourth, and fifth
strings. You can use the second, third, and fourth fingers to play the notes.
Avoid playing the sixth string. Move between the two chords using a simple
strumming pattern using the time 1-2-3-4.
Circle of Fifths
If we were to stack the fifths on top of each other, we get the pattern called
the circle of fifths. This helps you in several ways. For one, you can see how
many sharps or flats there in the key signature of that root note are. Next, it
throws light on the relationship between the chords.
Major C G D A E B
012345
Minor a e b f# c# g#
F# Db Ab Eb Bb F
6 7 4 flats 3 2 1
d# bb f c g d
*(bb is B flat).
This circle gives the relationship between the various tones of the chromatic
scale. In the figure above, the circle goes back to 1 after 12, and so the cycle
continues. The numbers show how many sharps or flats there are in the key
signature of the chord. For instance, we see there are 3 sharps in the A major
chord key signature. And, in F# minor also there are 3 sharps in the key
signature. From Ab onward, the numbers show the number of flats.

Playing the Scales - Learn the Musical Scales

The scale is an arrangement of notes. Each scale has many patterns on the
fretboard, and so one must learn the different positions of each scale. The
four main scales are these:
1. The Major scale.
2. The Harmonic Minor scale.
3. The Melodic Minor scale.
4. The Harmonic Major scale.
The mode is a way to play the scale using a different starting point. For
instance, we have these notes CDEFGABC in the C major scale. If we were
to start from D and play DEFGABCD, the notes would remain the same. But
the note interval would have changed. That is, we are playing a different
mode of the C major scale. Thus, we would have seven modes of each scale
that we play.
In the first instance, the note interval is 1 2 3 4 5 6 7, while in the second
instance, it is 1 2 b3 4 5 6 b7, which is the Dorian mode. We can use the
various modes to solo over different chords.
Different Modes of Scales - Patterns for Each Scale
There are seven modes to learn, and what one must remember is that the
mode is different from a scale. If one plays a mode, it comes from a parent
scale. The scale is not a mode, but the mode is a scale. You have scales that
are not modes such as the Blues scale and the harmonic major scale.
You can play the modes and negotiate your way across the fretboard, creating
links between chords that one uses in music. Let us begin with the seven
modes of the major scale.
Ionian Mode (also known as Major Scale)
Know that if you learn to play the F Ionian mode, all you must do is shift it
up two frets to get the G Ionian mode. This way, you can cover all the notes.
Here we have the C Ionian mode from the seventh fret.
E --|---|---|-B-|-C--|---|--D-|---|---|---|-
B --|---|---|----|-G-|----|-A--|---|---|---|-
G --|---|---|-D-|----|-E-|--F-|---|---|---|-
D --|---|---|-A--|---|-B-|--C-|---|---|---|-
A --|---|---|-E--|-F-|---|--G-|---|---|---|-
 E --|---|---|-----|-C-|---|--D-|---|---|---|-
Frets 5 7 9 12
The related chord is Cmaj7. We have the root notes on the eighth fret on the
first and sixth strings and on the fourth string the 10th fret. Practice this major
scale playing both ascending and descending scales.
The popular position is the C Major in the open position. This is easy to play
and a good starting point for beginners.
Open Position of C Major Scale
E -F-|---|G-|---|---
B -C-|---|D-|---|---
G ---|-A|---|---|---
D ---|E-|-F|---|---
A ---|B-|-C|---|---
E -F|---|-G|---|---
You must play all the notes, including the open string ones. The root here is
C marked in red.
Another position of the C major chord is this:
E --|o-|---|---|-
B --|---|---|o-|-
G --|---|---|o-|-
D --|---|---|o-|-
A --|o--|---|---|-
x E --|---|---|---|-
35

Simplifying the Note Formula

We have seven modes for the scales. Remembering all the scales is a
herculean feat. But it is not impossible. Start with one mode and work your
way to the others. Here is a simple way to do this.
Start with the Major Scale
Let us see this by starting with the G scale instead of C. The first scale is G
Ionian. The ascending and descending scales are like this:
The tablature of the ascending scale is like this:
E -----------------------------------------
B -------------------------------5-7-8----
G -----------------------4-5-7------------
D ----------------4-5-7-------------------
A --------3-5-7---------------------------
E -3-5-7----------------------------------
For the descending scale the tablature is this:
E ----------------------------------------
B -8-7-5---------------------------------
G --------7-5-4--------------------------
D ---------------7-5-4-------------------
A ----------------------7-5-3------------
E -----------------------------7-5-3-----
By playing the scale from G we have changed the degree. That is, we are
starting from the fourth degree instead of the first.
We can play the scale using all the natural notes (C major has all-natural
notes) starting from D. Now, though the notes are the same, there is tension.
The notes have a different pattern, and the "happy" sound of the C scale is not
present. This serious-sounding scale is the Dorian mode. We consider this a
minor mode because we have a minor third interval. This is present between
the first and third intervals. In the earlier Ionian mode, the interval between
the first and third intervals was a major interval. So, is this the D minor scale?
When we compare the D minor scale and D Dorian, we notice that the Dorian
scale has a raised sixth degree. You can see a whole world of change happens
when we change the sequence of the natural notes by starting in D.
Dorian is well suited for Jazz, Blues, and Classic music. It has a bittersweet
tone to it with spots of brightness in the background of sadness.

For Beginners Learning the Modes

Since this is a new kind of scale, the way forward is to learn one of the basic
modes and then see what the next one is. The starting point is the Ionian
mode. We use the C major scale since it has natural notes. The next mode is
the Dorian mode, and so on until we cover all the seven modes. We learn the
modes in this order:
Ionian
Dorian
Phrygian
Lydian
Mixolydian
Aeolian
Locrian

When we work them with a one-note changing method, we get this order:
Lydian
Ionian
Mixolydian
Dorian
Aeolian
Phrygian
Locrian

The Lydian mode has one sharp in its scale structure. This is the #4, and this
shape is going to form the basis for all the others. Make sure you become
comfortable with this before moving to the next one.
The Lydian Mode
E --|-o-|-o-|----|-o-|---|---
B --|-o-|-o-|----|-o-|---|---
G --|-o-|----|-o-|----|---|---
D --|-o-|----|-o-|-o-|---|---
A --|-o-|----|-o-|-o-|---|---
E --|----|-o-|----|-o-|---|---
You can see that this shape will fit at any fret on the fingerboard. The red
notes show the root note, while the blue notes are the changed note that
brought you to this scale. There is no blue note for the first Lydian mode.
The Ionian Mode
E --|-o-|-o-|----|-o-|---|---
B --|----|-o-|----|-o-|---|---
G --|-o-|----|-o-|-o-|---|---
D --|-o-|----|-o-|-o-|---|---
A --|-o-|-o-|----|-o-|---|---
E --|----|-o-|----|-o-|---|---
Start with the root note (red) and play up to the next red note. The blue note
is the fourth degree you added to get to the Ionian mode.
The Mixolydian Mode
The next mode in this series is the Mixolydian mode. We come here by
changing the Ionian mode by one b7 note. The root is the same.
E --|----|-o-|----|-o-|---|---
B --|----|-o-|----|-o-|-o|---
G --|-o-|----|-o-|-o-|---|---
D --|-o-|-o-|----|-o-|---|---
A --|-o-|-o-|----|-o-|---|---
E --|----|-o-|----|-o-|---|---
You can see that you have added one new note on the fourth string and
second string. It seems this note is the note that was below the root, and it
dropped one fret.
The Dorian Mode
Next is the Dorian mode. We are in the minor modes now. You must alter
one note of the Mixolydian to get to this mode. You lower the third of the
former scale to get the Dorian.
E --|----|-o-|----|-o-|---|---
B --|----|-o-|----|-o-|-o|---
G --|-o-|-o-|-o-|-o-|---|---
D --|-o-|-o-|----|-o-|---|---
A --|----|-o-|----|-o-|---|---
E --|----|-o-|----|-o-|-o-|---
This has a sad sound because it is a minor scale. You can play two octaves up
and down. Once you are thorough with this, go to the next mode.
The Aeolian Mode
This is the second minor mode, and you can reach this by lowering one note
of the Dorian scale.
E --|----|-o-|----|-o-|---|---
B --|----|-o-|-o-|----|-o|---
G -|-o-|-o-|-o-|-o-|---|---
D --|----|-o-|----|-o-|---|---
A --|----|-o-|----|-o-|-o-|---
E --|----|-o-|----|-o-|-o-|---
The note you lower is the sixth of the Dorian. Practice the scale well and go
to the next one.
The Phrygian Mode
To get the Phrygian mode, you will lower one note of the Aeolian mode.
E --|----|-o-|-o-|----|---|---
B --|----|-o-|-o-|----|-o|---
G -|----|-o-|----|-o-|---|---
D --|----|-o-|----|-o-|-o-|---
A --|----|-o-|----|-o-|-o-|---
E --|----|-o-|-o-|----|-o-|---
After you become thorough with the Phrygian fingering, it is time for the
next mode.
The Locrian Mode
E --|----|-o-|-o-|----|---|---
B --|----|----|-o-|----|-o|---
G -|----|-o-|----|-o-|-o-|---
D --|----|-o-|----|-o-|-o-|---
A --|----|-o-|-o-|----|-o-|---
E --|----|-o-|-o-|----|-o-|---
This is the last mode. You get this by lowering one note of the Phrygian
scale. The note you lower is the fifth of the Phrygian scale.
Exercises in the Modes
Play the modes starting from the root G. Once you have some mastery, try
out these exercises.
Repeat in all 12 keys, the three major modes Lydian, Ionian, and
Mixolydian.
Play the minor-based modes Dorian, Aeolian, Phrygian, Locrian
with one root note. Do this for all 12 keys.
Practice the major modes (all seven) as given above in one root
note. Repeat for all 12 keys.
Play a G chord track and do the soloing using Lydian - Ionian –
Mixolydian and see how the color changes.
Now, with Am backing track play the solo using A Dorian –
Aeolian – Phrygian – Locrian.
Do the above two exercises in all the 12 keys. Keep moving
between two chords such as G – C or Am – Dm and work all
seven modes.
 Part 3

Choosing a Guitar -
Pick the Right Style of Play

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Since you have decided to play music using the guitar, you must make three
decisions. One is which guitar you will buy. This will depend on what kind of
music you want to play. And, after you make these two decisions, you will
have to buy a pick. The pick or the plectrum is a piece of plastic or bone that
helps you with your strumming. Let us first help you decide what kind of
music you want to play.

Different Playing Styles for Guitar Music

If you have never played the guitar and do not have a friend who plays the
guitar, then you must go to a store and hear the music of the guitar. Choose
one from the Classical Guitar, the Acoustic Guitar, and the Electric Guitar.
You need a separate playing style for each, and unless you know the
difficulties, you will probably make the wrong choice.
Playing the Rhythm Guitar
A rhythm guitar keeps the beat going throughout the song. It goes along with
the band that has a lead singer, a lead guitar, and other instruments, including
the drums, and gives it the momentum it needs.
You can play rhythm with a hollow-body guitar, a steel-string solid-body
electric guitar, or an acoustic guitar. To play Funk, Metal, Blues, or Rock,
you will need a solid body electric guitar. Most of the country songs need a
hollow body guitar to give depth and vibrancy to the notes. The role of the
rhythm guitar is twofold. One is to provide harmony by coordinating with the
singers and other instruments. The other is to always keep the pulse of the
song alive. Here are the top picks in the rhythm guitar section in both the
hollow body and solid body models.
Hollow Body Rhythm Guitars
The top rhythm guitarists include legends like B. B. King, Paul McCartney,
George Benson, and Keith Richards. Many guitarists choose the hollow body
electric guitar so they can supply the rhythm and play scintillating solos at the
same time.
Guild Starfire V
First introduced in the 1950s, the Starfire is an original put out to compete
with the iconic Gibson ES-335. The Starfire V featured the tremolo a first at
that time. The reissue has much of the same looks of the original, the same
double cutaway shape, the pickguard with Guild brand, and an arched back
and top. The box has the choice of three glossy colors - Tasty Cherry, Pristine
White, and Black.
This Korean-made guitar has a high price, but the good finish justifies the
price tag. The fretboard is Indian Rosewood and has 22 frets. The hardware
has the same class, as seen in the Grover Sta-Tite tuners that have a precision
gear ratio of 18:1. It also has D'Addario EXL115 strings and a genuine bone
nut. The bridge design is adjustable Tune-O-Matic. Tuning stability is good,
and there is Guild vibrato tailpiece.
The pickups are two passive Alnico 5 Little Buckers sitting on the bridge and
neck positions. Tone-wise they are between the humbucker and the single-
coil pickup. There is warmth in the tone, and the sparkle is better than that of
a humbucker. You have two separate control knobs for the pickups, one for
tone and the other for the volume. There is a master volume control know
also. A three-way toggle sits further up the face of the guitar.
Sound-wise, this Guild hollow-bodied guitar has a vibrant treble and well-
defined bass that works well for jazz, rock, and blues styles. The tremolo
allows the extra expression of this soulful guitar. The sustain and feedback
are good. This is one of the best blues guitars around. By opting for a reissue,
you can save big money, and the looks are superb.
Gretsch G5420T
The timeless design of Gretsch in their hollow-body guitar model is
outstanding. Legends such as George Harrison and Chet Atkins used this
guitar. One thing is that it is a highly affordable guitar.
The gorgeous G5420T reminds one of the many hollow-body guitars of the
time. It comes in Aspen Green, Fairlane Blue, and Orange Satin. This is
mass-produced in Korea but displays great fit and finish. The single-cutaway
hollow body is of laminated maple. It has oversized f-holes, and the silver
pickguard has the Gretsch logo. The simple yet stylish looks complement the
rosewood fretboard that has 22 medium jumbo frets. It plays well but is a
little bit lacking in feel. You can set this right with a little setting.
You find quality hardware in the form of two Blacktop Filter 'Tron
humbuckers that sit at the neck and the bridge. They have individual volume
controls along with single tone control and a three-way pickup selector
switch. Then, there is the sturdy Bigsby Adjusto-Matic tremolo bridge to help
you with the guitar play.
The classic tone of the Gretsch is undeniable. It ranges from punchy, clear
tones to warm, jazzy sounds. You may even get a well-driven growl from it,
and so it is the best guitar for classic rock music play.
Ibanez Artcore AS73
Ibanez is more renowned for guitars that cater to metal and rock music. The
Ibanez AS73 is a budget-conscious guitar but keeps high quality comparable
to the Gretsch or Epiphone. It is well balanced and articulate, considering it
costs half as much as the other guitars. Its increased scale length helps the
guitarist play more easily. The neck stays glued into position (set neck) like
that of more expensive guitars. This helps improve sustain.
There are three color finishes for the AS73 – Transparent Cherry, Tobacco
Brown, and Antique Amber. The sound is adequate but not extraordinary, but
the tone doesn't have the clarity of high-end guitars. This is due to the
pickups which you can swap by yourself for a pair of humbuckers. This
would bring the tone up to that of a Gibson E335, which costs upwards of
$2000.
The top, back, and sides are of maple. This enhances the high-end
frequencies giving you a bright treble sound. There is not much support at the
lower end that sounds like any other guitar.
Epiphone Casino
We first saw this instrument in 1961, and it has remained popular with
guitarists ever since.
The top and sides of the Casino are 5-ply laminate that makes the profile
Thinline while playing a hollow guitar. The rosewood fretboard has 22
medium-jumbo frets with parallelogram type inlays. The neck is Mahogany
and glued to the body at the 16th fret with a profile Slim Taper D type. The
radius is 12 inches, and the scale length is 24.75 inches.
It has P90 pickups and comes in four color finishes – Metallic Goldtop,
Cherry, Natural, and Vintage Sunburst. The guitar stays in tune even when
you play aggressively because of the LockTone Tune-O-Matic bridge, which
has the support of the trapeze tailpiece.
This is a completely hollow guitar that allows you to play unplugged.
One shortcoming is that the feedback is a little on the heavier side. A
wonderful instrument for the rhythm guitarist, the Epiphone Casino, is truly a
masterpiece.
Gibson E335 Studio
One of the most recognizable guitars around, the Gibson E335 comes with
two Classic 57 humbucker pickups that link to the Memphis Tone Circuit
control assembly. The body has the iconic Gibson body design of 3-ply
Maple-Poplar-Maple with Gloss Nitrocellulose Lacquer finish.
The neck is a rounded C profile, and the scale length is 24.75 inches. It has
22 frets of medium-jumbo size made of nickel silver. The fretboard is
rosewood, and body material is one-piece maple. Inlays are Pearloid dots,
and it has a single-ply black truss rod. It is available in Nickel, and Vintage
Burst finishes.
The bridge is ABR-1 and has plated brass saddles. There is no pickguard, and
the control knobs have gold top hats.
One will not go wrong with this guitar. The sound is pure vintage, and though
it costs a bit more, it will be a worthy investment.

Semi-Hollow Body Guitars

The semi-hollow body guitar has the advantages of both the hollow guitar
and the solid body one. It came into existence in the 1950s, now used widely
by a wide range of musicians belonging to different genres. You get warm
dynamism with lots of sustain from this guitar. The harmonic richness
includes rounded mid-tones and lovely overtones. The hybrid design makes it
the perfect fit, easy to carry, and play.
Ibanez Artstar AS153
Built with superior tone-woods, the Artstar AS153 has a robust construction.
It has a modest price, which makes it a favorite choice for beginners and
working professional musicians.
It has a slim mahogany neck and an ebony fingerboard. The bone nut and the
hand-rolled fret make the special instrument right away. The neck pickup
(PU) and the bridge PU are Custom Super 58. This allows you to play
anything from dirty blues to the clean jazz with alacrity. The frets are
medium, the top, sides, and back of the guitar are of maple. The finish is
Antique Yellow Sunburst. You have a tri-sound switch to control the neck
PU.
The two humbucking pickups produce growling low tones and high precision
high tones. You can play around with the coil configuration use the Tri-
Sound switch. The slim neck makes playing this guitar a pleasure. It has a
natural expressive tone without the 60-cycle hum. The ebony fretboard gives
you a smooth feel and enjoyable action.
To sum up, the AS153 is a versatile guitar suited to a wide range of music
styles. It has a bright tone and good acoustic resonance. It is a great guitar for
both the beginner and the professional.
Epiphone Riviera Custom P93
Epiphone has produced America's best and oldest semi-hollow body guitars.
They have been in the business since 1873 and make guitars for all styles of
music.
Riviera is an enduring classic that produces good tones without any pickup
variations. The three pickups of the P93 are "Dogear" Alnico-V P-90, which
are a great improvement on the single coils. The Alnico magnets stay wired
to three individual volume controls along with one master tone control.
The finish is a stunning wine red with gold hardware. The Wilkinson
machine heads have a 14:1 ratio giving a new level in tuning stability. As for
the sound, the clear and warm output is best suited for jazz, country, and
blues music.
This is a great guitar for professionals. Its stunning appearance will carry the
day at any performance.
Fender Starcaster
This is a reissue from the 1970s that has an alder center block along with
laminate maple tone-woods. It has a bolt-on neck, which is a deterrent for
some who prefer the glued-on type. This neck has a slimmer profile that
makes it easier to play.
Many components here are only midrange quality. The body, neck, and
sideboards are of maple, and it has a fixed bridge. In the original Starcaster,
you see a laminated maple top with dual f-holes. The sides and back are of
maple. The onboard electronics include three pickups, a three-way toggle
switch, and five silver-rimmed control knobs. These knobs control the neck
pickup tone, neck pickup volume, bridge pickup tone, and bridge pickup
volume. The last one is the master control for the volume.
It has 22 medium-jumbo frets, and the neck radius has reduced to 9.5 instead
of 10 in the reissue. Also, the master volume control has disappeared. A new
addition is an Adjusto-Matic bridge and an anchored tailpiece.
It is a good guitar, but more of a collectors' item. You can get it if you are
looking for an easy-playing profile and modest guitar.
Epiphone ES-339
People all over the world look to Epiphone to give them quality, and they get
it. The Epiphone ES-339 has the classic semi-hollow body shape loved by all
guitarists.
The reissue has a smaller body while keeping the original ES-335 style.
Epiphone produced some of the best guitars for rock music playing at the
time it was at its peak. The first in the series was well-received but did not
find takers due to its weight. The heart of the ES-339 is in its PUs positioned
at the neck and the bridge. These Alnico Classic Pro Humbucker pickups
combine with the three-way selector switch to produce a wide range of tones.
This also features a push-pull coil tap.
To sum up, the Epiphone ES-339 is compact and produces a bell-like tone.
The nickel-plated hardware has a bright appearance and a long life. What is
outstanding is the ProBucker Humbuckers. This will suit country and jazz
music players. The tone will get some getting used to, and the controls might
give you a few problems for a while until you get used to them.
Ibanez Artcore AF95FM
Known for its excellent playability, Ibanez Artcore AF95FM produces warm
tones with excellent resonance. It is available in an antique yellow sunburst
finish with a terrific flamed maple construction.
When you see the instrument with its tortoiseshell pickguard and ebony
fretboard, you will remain spellbound. The neck is AF Expressionist
mahogany-maple, and the PUs are Ibanez Super 58. The fretboard is bound
ebony sporting an acrylic block inlay with 20 medium-sized frets. It has
ART-1 bridge, and the tailpiece is VT06.
Another feature that adds to the allure is the striking gold color of the
hardware. The scale length is standard at 24.7 inches, and the radius of the
fretboard is 12 inches. The factory settings for the pickups give a neck set,
the center setting for both neck and bridge, and bridge setting for the bridge
alone. A wide range of sounds is available through the five control knobs.
One is the 3-way PU selector, and there is one each for the tone and volume
control of the neck and bridge PUs.
The sound is smooth and cultured with a growl reserved for the blues music.
Sustain, and tubing stability is good. To sum up, this elegant guitar that
produces old-school vibes is a beautiful and responsive guitar. If you are a
beginner, this is a guitar you can grow up with, and it will stay with you for a
long time.

Solid-Body Rhythm and Lead Guitar

Playing a dirt-cheap $180 guitar such as the Fever Full Size Electric Guitar
may swing it for you. For those who dig the $5000 guitars such as Gibson
Les Paul Electric Guitar may find it difficult to adjust to the quality. But
really, there is nothing to the execution of the guitar play; it is in the attitude
one has. Here you can read about the best 10 guitars for beginners. You can
choose a good guitar – by good we mean, it has loads of extra features such
as onboard electronics– that helps one make music.
Fender Squier Classic Vibe Stratocaster 50's Electric Guitar
Music lovers who are in love with the 50s Fender vibe and tone will want this
guitar. The Fender Squier Classic has an Alder body with a gloss polyester
finish. The neck is modern C with the classic Stratocaster body. The scale
length is 25.5 inches, and the radius is 9.5 inches. It has maple fingerboard
and neck and 21 medium jumbo frets.
It will thrill the avid guitarist to find three pickups, as this allows him more
freedom to experiment with the tone. All three pickups are Custom Vintage-
Style Single-Coil Strat that gives the guitar its clear and bright tone. The
Fender has a terrific sustain even in crunch mode. It has a Standard 4-bolt
neck plate assembly. The bright fretboard has black dot inlays; the pickguard
is 1-ply plastic.
It has three control knobs, one for the master, one for the neck pickup, and
one for the middle pickup. One must not miss the Tremolo Arm handle with
the synchronized 6-saddle vintage bridge vital for the rock musician. It has
aged white plastic switch tips and control knobs and chrome hardware finish.
You get it in Two-color Sunburst and Daphne Blue.
Gibson Les Paul Modern Electric Guitar - Ebony Fretboard
Improvements in the Gibson Les Paul Modern include features that make a
guitarist happy such as the slim-taper neck and lighter guitars. The
asymmetrical profiles and the wonderful ebony fingerboards make guitar
playing a dream. The Modern contoured heel gives effortless access to the
top frets. You can push the sustain high up, and the notes stay stable.
Add the electronic, Burstbucker Pro Rhythm at the neck PU, and Burstbucker
pro plus Lead PU at the bridge, and the glory is complete. For controls, you
have two push-pull Volume knobs and two push-pull Tone knobs aside from
the Toggle Switch. The control knobs have clear top hats.
It is also difficult to overlook the spectacular chrome finish as well as the top-
drawer Grover locking Rotomatics that are set off by keystone buttons. It has
an Aluminum Stopbar tailpiece while the bridge is Aluminum Nashville
Tune-O-Matic. For the pickguard, the Gibson has a 5-ply black creation that
adds to the glamor of the instrument.
Epiphone Les Paul Traditional PRO-III
While you have guitars that cost upward of $2,500, there are a few surprises
in the sub-$500 categories. The Epiphone Les Paul Traditional PRO-III is
one such.
The single-cutaway is a solid body electric guitar made of solid wood. The
top wood is veneer maple, and the body is mahogany that has a gloss finish.
The typical 60s style Les Paul shape for the neck is sure to bring nostalgic
memories to many. The neck has a set-in joint of mahogany with a standard
truss rod and a gloss neck finish. No complications there, the scale length is
24.75 inches, and the radius is 12 inches. As with most guitars, the number of
frets is 22; they are medium jumbo. The fingerboard is Pau Ferro. The
trapezoid inlays add a bit of sparkle.
The traditional PRO-III comes in stunning new colors - Metallic Gold,
Ebony, Pelham Blue, and Wine Red. The PUs remain aligned in parallel and
are passive based on push-pull coil splitting. You have four control knobs
(two for volume and two for tone) and a 3-way selector switch. The bridge is
Tune-o-Matic, which means you can adjust the tuning using the screws on the
bridge.
In all, it is a wonderful guitar for a beginner and considering that it doesn't
cost much, a worthwhile investment. It is great in the looks department, and
you get it in four colors.
Squier Bullet Mustang HH Limited Edition
Another budget electric guitar, the Squier Bullet Mustang HH is different.
You might know that guitarist who likes to make noise, a lot of noise. Well,
this guitar is for him.
This is a good guitar to play if you don't mind the tone. But it sounds great
for a budget guitar, and the two humbucking pickups give a massive output
that pushes all limits.
The fretboard has a 12-inch radius. The six-saddle through body bridge
ensures correct vibration transfer to the body of the guitar. This gives you
increased sustain. The individual saddles help you make minute adjustments
to help you hold the right note while playing.
The maple neck is one-piece with a C-shaped profile. The laurel fingerboard
has 22 medium jumbo frets. The sealed die-cast tuners help to keep the
tuning intact for a long time. The body material is Basswood, so you stay
assured of the long life of the instrument. It comes in Gloss, and Mustang
body finishes. The truss rod is a vintage style, and the inlays are white dots.
All the sound comes from two standard Humbucking pickups at the bridge
and the neck. You have separate master controls for the tone and volume.
You can control the position using a 3-way toggle. Position 1 is for the
bridge, position 2 is for both bridge and neck, while position 3 is for the neck.
As for the pickguard, one may choose from 3-ply white or black while the
switch tip is white. Seen with the black control knobs, they present a striking
contrast. In all, this is a loud guitar and a cheap one at that. If you are a
beginner and want to perform, this might be the guitar for you.
Gibson Custom 1959 Les Paul Standard Historical Collection
If you want to pluck a star from the sky, buy a Gibson Custom 1959 electric
guitar. You need to have deep pockets because it costs upwards of $7,000.
The Standard Historic 1959 has the same tone and feel as the original '59
Sunburst Les Paul, who set the industry standard. The unique glue neck
construction with the long neck tenon helps with the sound transfer and
spanking tone. If this is not enough, the handcrafted beauty is resplendent
with authentic detail that reflects visions of the glorious days.
It is a single cutaway, solid-body guitar with mahogany for its body wood.
The top wood is maple, and it has a gloss lacquer body finish. We see the
neck joint is set-in with the classic medium C shape. The scale length is
24.75 inches. Its rosewood fretboard has 22 standard frets with dot inlays. It
has a single-action truss rod.
The electronics consist of two Gibson Custom Bucker PUs in series. There
are four controls, two for volume and two for the tone. Apart from this, we
see the 3-way pickup switch. It has a fixed bridge and a stop bar tailpiece.
The finish is dependent on the color you choose. You have Kluson deluxe
tuning machines.
In all, the guitar is vintage, so add it to your collection. It is a mite costly for a
beginner, but the tone and aesthetics are superb. If you want a spectacular
guitar, buy the Gibson Custom 1959.
PRS John Mayer Silver Sky
Very distinctive in its features, the PRS John Mayer Silver Sky is one of a
kind guitar. After a lot of planning, using the inspiration from two vintage
guitars, the Silver Sky came into being.
The trademark design of PRS gives the headstock its shape. It has an inverted
alignment to accommodate John Mayer's playing style and to keep the length
of the string consistent. Mayer was one of the collaborators who helped in
designing the instrument; the other was Paul Reed Smith. What makes this
guitar special is its neck. Modeled after the vintage 63s instruments, it gives
you a special balance and improves the feel when you play the guitar.
Keeping in line with the vintage design, the steel tremolo has the PRS arm
with Gen III knife-edge screws. The makers have set the tremolo bridge flush
to the body to increase the volume because the vibrations from the body
improve the ratio of the string vibration to the noise.
The 635JM single-coil PUs is full and round with a solid musical output
without much distortion. Another remarkable feature is the molded metal
plate for the jack that has a curve. This allows us to plugin and pulls out
without much difficulty. The knobs have retooled, and the fret wire is smaller
than usual. Adjustments are more correct due to the double-acting truss rod.
You can get it in 10 colors – Onyx, Frost, Horizon, Tungsten, Orion Green,
Golden Mesa, Dodgem Blue, Moc Sand, Polar Blue, and Midnight Rose.
Fender American Elite Telecaster
The feeling that one is playing a classic that has modern features sure is
exciting. In the Fender American Elite Telecaster, we have the reincarnation
of the solid-body electric guitar from the 50s combined with a modern profile
and latest electronics. But the instrument has much of its original charm and
dexterity.
Its design allows the guitar player to make fast changes without effort and
play difficult riffs with ease. The Elite series features noiseless pickups (this
feature is only available in this series) that helps you deliver authentic sound
and noise-free performance. The new neck shape continues down the neck to
the neck heel with a D-shaped profile. Guitarists can rest their fretting hand
there while playing the guitar.
We don't have any buzz because of the increased break angle at the nut while
going to the short post tuning machines. An eye-catching style is necessary
for every Fender, and this model is no exception. The rear contour is
ergonomically designed to fit the body of the player. Along with the Pearloid
fret markers and black chrome headstock logo, the elegant style of the
instrument dazzles. This new addition to the Fender Family has a single-
cutaway solid body made of Alder wood. The body finish is Gloss, and the
neck wood is Maple. The neck finish is Satin. The maple fretboard has 22
medium-jumbo frets with dot inlays. It has two passive PUs laid out in series.
Many guitarists complain about the lack of enough controls. You have one
master control knob and one for tone control. Alongside this, you have the 3-
way pickup switch. It has a fixed type bridge 6-saddle American Tele with
chrome brass saddles. It has deluxe tuning machines of the sealed locking
type.
In all, a bit costly with the price of over $600 but filled with vintage style and
modern features. The sound is good; sustain is superb, and there is absolutely
no buzz. You should buy the Elite Telecaster if you have the money and want
to invest in a good guitar.
Ibanez Premium RG1120PBZ
The Speed Demon made for setting the stage on fire is here. Costing more
than the average electric guitar, the Ibanez Premium RG1120PBZ looks as
daring as it plays.
Overflowing with aggression and voiced for shredding the twin humbuckers
of the RG1120PBZ howl and scream to the shouts of the audience who long
for the extended-release of the lead. Added to this, the renowned Edge-Zero
II tremolo bridge helps with the dive bombs and trembling vibratos. There
you have it, the solid body rock n' roll and metal making device ready to go.
Rock musicians have always looked to the RG series in Ibanez for effortless
playing due to its Wizard 11-piece neck made of maple, walnut, or
purpleheart. You can use it to play aggressive rhythm or switch to a fluid lead
line because the Ibanez Premium has high playability.
Talking about the Edge-Zero II tremolo bridge, the design of the locking
helps you stay in tune even after the most aggressive shred session. You can
hit peak performance without going over the edge. The tension change
system allows you to make the right changes through its Zero Point System.
It means you can adjust spring tension with your fingers.
The two humbucking pickups are DiMarzio Fusion Edge with 5-way
switching. It allows you to shape the tone over a whole range for your rock n'
roll or blues style. The high output and tonal variety allow you to adapt to
any style. The Dyna-Mix 10 switching system helps you pick different
combinations through the mini toggle and 5-way blade switch.
In the Ibanez, the body is Basswood topped with a distinctive polar burl. The
neck is in gorgeous ebony and has ample sustain. The ebony fingerboard
features mother-of-pearl inlays, and the gold frets are Jescar EVO. The
fingertip adjustments of spring tension make it easy to adjust.
If you are a beginner, this guitar will take you to the top. Rock or metal, you
get all the needed help from this instrument. Professionals will love it for its
superior volume and tone range. Well, it is expensive but still sub - $1500.
Go for it and grow with it.
SG Standard '61 Maestro Vibrola
The standard choice of legends, SG standard '61 Maestro Vibrola comes with
a vintage cherry finish. The instrument for generations of music lovers, it has
served across all genres with equal aplomb.
This is a standard SG '61 with an added vibrato capability, as the name
implies. The tailpiece cover features Lyre Engraving in Classic style. The
Bound rosewood fingerboard has 22 medium jumbo frets with acrylic
trapezoid inlays. You have good playability due to the 24.75 inches scale
length and 12 inches fingerboard radius.
Aesthetic appeal is good due to the mahogany body material with a Gloss
Nitrocellulose Lacquer finish. It has a 5-ply black pickguard and ABR-1
Tune-O-Matic bridge. The tuning machines are Vintage Deluxe with
Keystone buttons and a nickel finish.
Most of the users are in love with the control knobs that have a black top hat
with silver reflectors. The switch tip is cream; the switch washer is black.
ESP LTD ST-203FR
There is an appealing look to the ESP LTD ST-203FR that makes a guitarist
want to do more with it. The black patch above the white playing area makes
the guitar seem alive.
The Alder body with a 1-piece Maple neck has a bolt-on construction and a
Tun-U neck contour.
For the electronics, we have ESP's LH-150 Humbuckers alongside two
single-coil LS-120s. The two single coils are the middle and neck PUs. You
see a standard 42 mm nut paired with the Floyd Rose Special Bridge. We
have 22 XJ frets on the fretboard, and the scale length is 25.5 inches. You can
work up to speed in the jumbo frets and shred until there is nothing to go on.
This workhorse guitar cost around $400 and produces beefy sounds through
its PUs.
The fantastic playing expression comes from Floyd Rose (FR), the name of
the special bridge. Nickel hardware and ESP tuners add to the striking looks
of the guitar.
A good guitar for a professional or expert, the beginner might find the going
a bit tough. Looks-wise, also, there is nothing sensational though the chrome
hardware combines will with the white foreground on the black background
to give it a striking appearance. But since there is no heavy price to pay,
beginners might find it a good way to get started with shredding. Invest in
this if you have no other guitar and need a cheap instrument to begin guitar
play.

Top Acoustic Guitars

When you come to country music, you enter the realm of the acoustic guitar.
This is a vibrant dominion with plenty of harmonies, less of the noise
associated with metal and livelier rhythms to soothe the senses.
Hugely recognizable by the hole in the middle, acoustic guitar endears to
indoor play like a duck takes to the water.

Types of Acoustic Guitars

The Dreadnought
We classify acoustic guitar by size, with the biggest of them being the
Dreadnought. This is the icon of the guitar world, the loudest and biggest
guitar with which you can play anything from indie to punk and rock to folk.
Launched by C. F. Martin in the 1930s, the 12-fret guitar with a deep,
resonating bass quickly became popular worldwide.
Named after the biggest battleship of its time, the Dreadnought or D-Size
guitars go with fiddles, banjos, and vocals. There are hundreds of models of
Dreadnoughts, but the ones that stand out are Martin D18-E, which is high
priced and has show-stopping features.
The other is Gibson Hummingbird, a Dreadnought with square shoulders.
The Parlor
At the other end of the size, the scale is the Parlor. These instruments have
the smallest body size (of course, baby size is smaller) and help simple styles
like indie and folk music. CF Martin created yet another brilliant musical
device.
The sloping of the shoulders (the place where the box meets the neck) is
more, and it has a smaller base. What stands in its favor is that it is small.
Musicians prefer their extreme portability; it makes them comfortable even
when giving a performance. One top model, Parlor guitar, is Farida M26-E
that has a wonderful choice of tone woods and is well-made.
Auditorium
This is another guitar by Martin and is halfway between the Parlor and the
Dreadnought in size. Many practitioners of finger-picking styles, especially
folk music players, like it for its hour-glass shape. It can take a lot of heavy
strumming, and its large base helps you with the low-end notes. The Martin
000X1AE is a perfect example of a modestly priced Auditorium.

Classical Guitars
This model is the first choice of instrument for many guitarists. Nylon-strung
with small-scale acoustics, this guitar helps beginners make their first strides
with comfort. They are capable of a high range of tones, but the dexterity of
hand is essential. The Merida Trajan range of guitars is the most popular
Classical guitars.
Grand Auditorium
The second big name in guitars is Taylor. Big Baby and GS Mini are the best
examples of Taylor's contributions to the world of music. The Grand
Auditorium helped them climb to the top when they started.
Round-Shoulder Dreadnought
An identifiable and accepted shape, the round-shoulder Dreadnought, is a
Gibson creation. The classic Gibson J-45 is a prime example of this guitar
model. Many musicians love it for its sweet, warm tone; others like it for its
dependability and durability.
Jumbo
Coming to the plus-size for guitars, Jumbo is at one end of the scale. Many
top musicians used this for its sheer volume. The extra wood produces plenty
of vibration and volume. The Gibson Super Jumbo came out in 1937 and
became accepted for its great deep bass sound, especially while playing
rhythm. The best of this model is Epiphone EJ200CE.
Travel Guitars
We have come to the smallest model in the group, the baby acoustic guitar.
Both Martin and Taylor made several models, but they were not recognized.
Martin had its Backpacker. It was only when Martin came through with LX1
that the world began to recognize this baby acoustic guitar. Shortly after,
Taylor made the Baby Taylor. Many musicians use Martin LX1E because it
has the tone and volume to match the bigger models.

The Best Acoustic Guitars

Music has a variety meaning you a separate guitar with a special tone to
make the kind of music in your genre. Blues, country, jazz, rock, pop, and
classical need different tone-woods to keep the vibrancy of their music alive.
But what matters is the amount of money one is willing to spend on an
instrument. Here is a look at what is out there for the acoustic guitarist.
Blueridge BR-160
When it comes to value for money, Blueridge has what it takes. In both the
looks and performance departments, BR-160 is at the top of the bracket. Plus,
it doesn't cost the earth to buy this model.
The top is solid Sitka spruce while the back and sides are Indian rosewood.
The pickguard and the solid white piping all-around the box reflect the
simple, decisive styling of Blueridge. With a mahogany neck and Indian
rosewood body, it produces good clear notes. You get nice help for lead play
from the Indian rosewood fingerboard.
The Blueridge has a genuine bone nut and a standard rosewood bridge. The
tuning machines are vintage, open-back nickel plated. They keep the tuning
and intonation well.
Notes are clear and punchy; tone is sweet and mellow. The soft nature of the
guitar helps the fingerpicking player well. There is enough volume and
projection from the Dreadnought body.
In all, it is one of the best picks you can find in the under $1500 segment.
Good for both the beginner and the expert, the BR-160 is a good investment.
It is a great gigging guitar because of its value for money.
Takamine EF360S - TT
With a price tag close to $2000, Takamine EF360S – TT promises lots of
things. The TT stands for Thermal Top, which is the use of aged woods to
give tonal benefits. But what is great about this guitar?
The style of EF360S is impressive. The Dreadnought body has a traditional
touch, and its non-cutaway body is simple without much decoration. The
pickguard is faux tortoiseshell, and it has an ivoroid binding.
Having solid Indian rosewood back and sides and a solid thermal top (spruce
baked at controlled high heat in a low-oxygen atmosphere) gives the wood a
darker and more vintage look. This makes the tone richer and fuller. The neck
is mahogany, while the fretboard is ebony with 22 frets. The addition of the
modern Palathetic pickup and the TLD-2 driver preamp delivers a tangible
impact. Keeping to the vintage look, the tuners are open-geared having
butterbean tuning keys. They are functional and hold the tuning well.
The tone and timbre of the EF360S are rich and balanced in both the high
tones and low range. You get the same richness when you plug in the guitar.
It is a Japanese brand, and it has delivered. We did expect something
spectacular, and this is exactly what the EF360S is. If you want a top-end
guitar for not-that-high-a-price, this is the instrument for you.
Martin 16 Series D-16GT
This is an American-made Dreadnought with a price tag under $1,500.
Considering the premium offering at an affordable price, it is natural for
guitar lovers to find this instrument attractive.
The detailing is simple, and it includes the striped herringbone rosette,
polished gloss on the top, and black Boltaron binding around the box. The
wood for the back and sides are solid mahogany while the body is solid Sitka
spruce. The neck is different from the ordinary guitar because of the
uncertainty of the wood, which says select hardwood. Many think this might
be Spanish cedar, while others think it could be mahogany.
Its low oval profile with satin finish gives a comfortable feel that encourages
playing. Preserving the environment is encouraging. Most Martins are now
switching to this material, which is as dark as ebony. Also, it is incredibly
durable, slick, and hard. The 20 frets have simple dot inlays.
The closed gear chrome tuners from Martin give smooth and precise
operation. It has White Corian nut and a compensated White Tusq saddle for
the bridge. The sound is impressive with a balanced tone. Even unplugged,
the sound is loud, which is what one expects from a Dreadnought. With its
good versatility in sound tone, the instrument feels good when playing the
Blues fingerstyle as when strumming to a rock song.
In its simplicity, there is an elegance, and while it may not be the premium
stuff, it is affordable than the Standard Series. It is a handsome guitar with
good playability, solid features. It is expensive but worth investing in.
Beginners might think twice, but it is a good guitar that will last for a long
time.
Taylor 314ce
Taylor models can cost tens of thousands of dollars, so when we see that the
314ce is only about $2000, we call it cheap. This American made model has
socking features. It is of solid wood.
With the body shape of the Grand Auditorium, Taylor 314ce has the design
Bob Taylor introduced in 1994. It still looks good and performs well. The
scale length is 25.5 inches, and the Venetian cutaway allows easy access to
the topmost frets. The wood is solid Sitka spruce on top while the back and
sides are solid Sapele. It has a gloss finish for the top while the sides and
back have a satin finish.
The mahogany neck reaches the neck at the 14th fret and joins to the African
ebony fretboard with 20 frets and dot inlays. The behind-the-saddle pickup
features Expression System 2, a patented device from Taylor. It supplies
wonderful amplification for the sound picked up straight from the box. There
is nothing extraordinary in the controls – you have the volume, bass, and
treble. You do not have an onboard tuner, which might be a point of
contention for some.
As for the rest of the hardware, there are six nickel tuners along with their
nickel buttons. Anchoring the strings on the box is a Micarta wave saddle
across the African ebony bridge. Paired with the Tusq nut, you get a
consistent tone. The broad dynamic range of the sound comes from the solid
Sitka spruce top while the volume comes from the solid Sapele. The tone is
resonant and bold and has a good sustain. This will favor the strummers. The
natural sounds are not only well balanced, but they are also clear and bright.
Even though the controls are not extensive, they are easy to use and help you
negotiate the entire range well.
In all, this is a superb allrounder with a responsive and clear sound. The
sound is resonant whether you play the instrument indoors or outdoors. It is
good value for money, and so it is worth investing in it. For the beginner, it
will be a big investment, but the feel is good, and you will learn faster
because it’s so easy to play.
Seagull S6
This is one of the top guitars under $500 and a flagship model of Seagull. It
has plenty of good qualities that would make you think that it costs much
more.
Advanced tone with solid wood and excellent American craftsmanship make
this steel-string guitar unique. It has the traditional look of a classic
Dreadnought and yet there is a lot of individuality in its presentation. Most of
the body wood comes from Canada. It has a scale length of 24.84 inches.
Solid cedar on top with a wild cherry on the back and sides gives the
instrument a unique tone. The finish is semigloss lacquer.
The S6 is adept with a durable feel because of the excellent build. The neck
joins the body at the 14th fret. The neck is silver leaf maple; the rosewood
fretboard has 21 frets.
The sleek matte finish of the body makes handling easy.
You can pay a little more and get the electro-acoustic version. On the
headstock, we see the special tuning machines that are tough to handle but
will keep the tuning stable under tough shredding. The rosewood bridge and
Tusq nut come with the compensated saddle.
Its sound is beautiful, and the craftsmanship is solid, and the sustain lingers
forever.
Fender Tim Armstrong Hellcat
Tim Armstrong's intricate connection with punk rock will tell you about this
guitar. One of the more affordable guitars, the Fender Tim Armstrong
Hellcat, has the acoustics to deliver punch and bite to your songs.
With a small concert body and a scale length of 25.5 inches, the Fender
Hellcat allows users to make fast moves. The dark grain does suggest that the
Hellcat is of mahogany, which is correct. Under the hood, the top has a
scalloped X bracing with solid wood. The sides and back have laminated
mahogany. You have 19 frets on the walnut fretboard and a 4-ply
tortoiseshell pickguard. You get extra playability through the maple C neck
with a satin finish.
Being electro-acoustic, you have onboard electronics Isys III made by
Fishman. It also features an onboard preamp that has 3 band EQ controls with
a separate Volume knob along with a built-in digital tuner. Both the
beginners and experts will love this. Plastic tuners aged white do their work
well. The rosewood bridge has a GraphTech Nubone compensated saddle.
Mahogany delivers a rich, true sound, and it is true for this guitar also. The
small build does not deter the sound quality, and the resonance is good due to
the bracing pattern. The tone is organic, and the controls give you more
options to tweak the sound.
This is a great guitar for the beginner and the regular performer. It is not
priced high and produces great tone and sustain. You have Tim Armstrong's
signature on the cover of the truss rod. Plugged and unplugged, the sound is
great. It should make a good buy for guitarists of all kinds.
Taylor Academy 12e
The Academy series by Taylor is premium, and that makes the Taylor
Academy a top-class guitar. Do beginners qualify for this? Why not is
thinking because a premium guitar will help you learn faster.
The wood on the top of the guitar is a combination of Sitka spruce and
mahogany while the sides and back are good quality, sturdy Sapele laminate.
The ergonomically designed guitar is comfortable to play claim its makers.
Well, check it out. The cost of this instrument is more than $500, so it must
have something special.
Let us start with the neck, which is a genuine African ebony and has 20 frets.
The playing experience is smooth, fast, and sturdy, which is what a beginner
wants. Top class craftsmanship makes this a choice instrument for a beginner.
The Taylor pickup and preamp are impressive; something one doesn't expect
in an acoustic guitar. Its controls are simple and neat with separate volume
and tone control knobs instead of EQ controls. For keeping you in tune, there
is an onboard tuner. The tuning machines made of chrome hold the tuning
well.
Other things you want to see are the bridge made of good ebony and the
saddle and nut made of micarta. It has light Elixir strings. The amazing sound
quality of Taylor is clear, with the vibrant tone that sparkles and has great
warmth. Plugged in, it sounds even better.
In all, this entry-level guitar has the quality that will help a beginner. It has a
huge price tag, but it is worth it. The tone, comfort, and playability add up to
the things you want to see in a guitar. So, you should invest in this if you
have the money.
RainSong Hybrid Series H-WS1000N2
Going away from the beaten track of tone-woods, here is something to excite
the senses – an offering made of carbon and glass fibers. Does it sound good?
Will it last long? Here we will discuss things that make an ordinary guitar
special. This comes in the under $2000 category, so many things go into this
guitar.
RainSong has a unique style in crafting guitars. There are no bracings in the
body made of glass and carbon. And, it will not bow or warp even under
extreme heat and humid conditions. It keeps a traditional shape with a scale
length of 25.4 inches and a generous cutaway that gives you fantastic access
to the top frets. Its neck is a modified U-shape made of graphite. There is an
adjustable truss rod for making corrections.
The fretboard is of composite material with 21 frets with white dot inlays.
Though comfortable and light, it has a strong and sturdy feel to it.
This electro-acoustic guitar has a Fishman Prefix+T preamp system. There
are quite a few control knobs for volume, bass, treble, phase switch,
brilliance control, and semi-parametric contour controls along with an
onboard chromatic tuner. The carbon fiber headstock has Gotoh tunes with
chrome plating and a 1:18 gear ratio. There is the Tusq saddle, matching
Tusq bridge and bridge pins.
The sound is not comparable to that produced by Sapele or spruce, but the
tone is good. The sound is bright and mellow with good bass response.
Plugged in, it sounds even better.
In all, this is a workhorse guitar and will stand you in good company while
you go through the basics. Do not expect to give stellar performances with
this instrument; it is not going to do that. But it keeps its tuning and gives a
decent sound output.
Fender California Newporter Classic
The Newporter Classic is top of the line in the Newporter series of under
$1000 Fender guitars. The design is distinctive and available in a unique
color finish. It has two color variants – Cosmic Turquoise and Hot Rod Red.
The soundhole rosette is lovely koa.
This is an awesome guitar with a midsize body. The build is good with solid
Sitka spruce on top with back and sides of unpainted mahogany. Its neck is
satin-finished mahogany with a slim taper C-shape making it highly playable.
The fingerboard is of pau Ferro with 20 frets, and the single-cutaway makes
them accessible.
It has Fishman custom electronics with simple controls for treble, middle and
bass. There is an onboard tuner as well. It has a workable preamp but not one
of the best. Its headstock has sealed nickel tuning machines that hold the
tuning stable. There is no disappointment in the sound output though one
would prefer a slightly increased volume. When you use the Newporter
plugged in with energy strumming, it produces the best output.
In all, this is not what a traditionalist would prefer. The cost is also not very
low, but the playability is good, and it has a good style. This is not a guitar
for the beginner. An expert would like it for his gigs.

Choosing the Right Pick for Your Guitar

Using a small piece of plastic that costs hardly anything is going to make a
difference to your guitar playing. The pick is your connection to the guitar
and the beautiful music you make. And because we can use a wide variety of
materials to fashion the pick.
Materials for a Pick
They use only one material to make the pick. The choice includes one among
these:
Tortoiseshell
Felt
Rubber
Plastics such as celluloid, Delrin or nylon
Stone
Tagua
Glass
Metal
Wood
Many things affect the sound. These are the physical characteristics of the
pick.
Different materials show special physical properties. This will affect the way
a person holds and plays with the pick.
Physical Aspects that Matter
Apart from the color and shape of the pick, one must think about the physical
aspects also. The main things one needs to think about while selecting the
pick are these:
Hardness
Thickness
Type of Material
Size and shape
Texture

Getting the right combination is important to suit your playing style. If one of
these aspects is not in the right proportions, the pick will not serve its
purpose.
Hardness
The guitarists will often choose a thin pick because it is easier to handle. But
what matters is the hardness. Allied aspects like flexibility and density affect
the playability and way the string responds to the pick action.
Smooth Nature
A smooth pick will slide off the string well. But this may not always be
desirable. When playing funk-rock and other types of vigorous music, you
may want the pick to stick to the strings rather than have them slide off. A
few of them make unpleasant noises when they meet the strings.
Fracture Resistance
This refers to the way the picks resist breaking. We can alter this value by
increasing or decreasing the gauge.
Feel
While playing, the pick might slip out of the fingers due to sweat. Or, they
may lay unresponsive like a dead weight. The right balance between the two
allows the user to switch between notes smoothly and keep control over the
strings.
One must begin with a medium gauge pick with a rounded tip. You can use a
pick with a thin gauge of flexible material if you want to strum. To play the
lead, you must have a reasonably stiff pick. If this is the case, choose stiffer
picks with a thicker gauge.
Tortoiseshell Picks
Qualities – Low Friction, Flexible, Famous Tone
Supposed to be the Holy Grail in guitar picks, they make the Tortoiseshell
pick from the shell of a turtle. This Hawksbill turtle is an endangered species,
and so it is illegal to buy or sell this pick. Also, they are fragile and
expensive. The reason these picks are so good is that they are of made of
keratin, which resembles the material of the fingernail. But many people
cannot distinguish between a plastic pick and a tortoiseshell one.
Coconut Shell Guitar Picks
Qualities – Fast release, warm tone, light-weight, vegan.
This very hard guitar pick is attractive and pleasant to hold. It has a fast
picking action due to its fast release from the strings. Some don't like it
because it is inflexible and a bit on the thick side, but the plus points
outweigh the negative side.
Buffalo Horn Picks
Qualities – Smooth release, tortoiseshell tone.
The feel of the buffalo horn pick is the same as that of tortoiseshell tone.
These are available online, and though they have a thick disposition and
easily break people like them for their wonderful tone. The real test is to pick
the one with the right gauge and shape. But there is not much variety, and
instead of wearing down like plastic picks, they splinter and break.
Tagua Picks
Qualities – Bright tone, light-weight, vegan, smooth release.
Plant ivory and corozo are other names for this pick. They make from the
white hard material that protects the seed. Easily a substitute for ivory, Tagua
comes in a variety of colors, including purple, blue, green, and red. For all its
good qualities, the thickness ranges between 1.8 and 2 mm. In fact, due to
their brittle nature, they do not come thinner than 1.8 mm. Also, they are
inflexible.
Sheesham Wood Picks
Qualities – Bright tone.
Wood picks are soft, which is why there aren't too many around. Hardness is
the main aspect to consider since the choice of the wood will determine how
hard the pick is. Sheesham is the hardest wood there is. Still, they wear down
fast.
Bone Picks
Qualities – Hard.
The bone picks a figure among the most exotic picks in use. Due to their
dense nature, bone picks make an unpleasant sound due to the high amount of
friction. Also, they do not release the string easily. They use bones to make
nuts and saddles. It takes a lot of skill to use bone picks.
Stone Picks
Qualities – Fantastic tone.
For those who dig a tone that is out of this world, the choice is clear – stone
picks. They are not good for chord playing because they are inflexible. But
you will have that tone, so use it for lead playing. You will only get them
thicker than 1.9 mm. You can use the stone picks for electric guitar playing.
Metal Picks
Qualities – Bright tone.
Metal picks damage the strings, and they lose their tone. If you want to use a
metal pick, choose one with a rounded tip. The metal pick gives you a
jangling and bright tone. They are easy to handle.
Historically, feather quills used to serve the purpose of picks. Thumb and
fingerpick help mandolin and banjo players to pluck the strings. Changing
your pick can change the way music sounds. Plucking the guitar with a pick
produces a brighter tone than plucking with one's fingers. It is normal to have
more than 2-3 picks around with you during a performance. In British
English, they call it a plectrum.
 Conclusion

You have now come to the end of this very long book, "Guitar Lessons for
Beginners." You have read all there is, and you must be eager to try it. Go
ahead; if you have not yet bought your guitar, you know now how to choose
the cone that suits your song genre. Keep the book for reference always, and
you will not go wrong.
Start with the chords and then go to the harder stuff, the scales. By practicing
the scales, you develop the nuances of different song genres like soul, jazz,
and pop music. Get that rhythm foot-tapping and enter the world of guitar
music.
 References

Guitar Chords with Chordbook. (n.d.). Retrieved May 26, 2020, from
https://chordbook.com/guitar-chords
Guitar Scales, Major, Ionian, Dorian, Phrygian, Lydian, Mixolydian. (n.d.).
Retrieved from http://www.guitarists.net/guitar_scales/
Guitar/Different Types of Guitars. (n.d.). Retrieved from
https://en.wikibooks.org/wiki/Guitar/Different_Types_of_Guitars
How To Learn Guitar: An 11-Step Programme For Beginners. (2020, January
13). Retrieved May 26, 2020, from
https://nationalguitaracademy.com/how-to-learn-guitar/
Krenz, S. (2010). Gibsons learn & master guitar. Retrieved from
https://www.amazon.com/Gibsons-Master-Guitar-Legacy-
Learning/dp/1450721494
 GUITAR
LESSONS
FOR BEGINNERS

Simple and Effective Strategies for Playing

Famous Guitar Songs and Optimizing Guitar
Chords
 Introduction

If you're reading this right now, chances are you feel ready for a new addition
to your skillset. Throughout this book, though, you'll discover that playing
the guitar is much more than a skill. In the right hands, like those of Bob
Dylan, B.B. King, Jimmy Page, George Harrison, and Jimi Hendrix, it can
literally change the world. It is a way to translate your thoughts and emotions
into sounds, a way to make people feel things, an amazing art form, and, last
but not least, one of the fastest ways to pick up girls/guys. The reason we're
saying all of this is to help you look at the learning process differently.
Instead of viewing this book as a curriculum or the process as a task, take a
step back and see things for the way they really are. You're not memorizing
notes and chords; you're learning how to create music and, in a way, change
lives. It might sound like an exaggeration, but you'll change your mind after
finishing this book.
Since part of your learning will revolve around how to play famous songs, it
is best that we start with a short history lesson for a couple of reasons. First,
the more you know about your favorite artists and what inspired them, the
more you'll be able to understand their style and appreciate it. Second, and
most importantly, to learn writing, you have to read and to learn painting, you
have to analyze paintings. Likewise, the best way to learn guitar is to listen to
different artists, especially those who took it to the next level. So, as you read
on, if you feel attracted to a certain name, we urge you to google them and
check out their music, you won't regret it.
In the beginning, there were Blues. The African American Blues, to be
specific, gave birth to rock and roll, punk, pop, and all the other genres and
sub-genres. In the 1950s, musicians like Muddy Waters and Howlin' Wolf
helped popularize the genre and create the standard blues sound we all know.
In their footsteps came B.B King, who changed the game with songs like,
'The Thrill is Gone.' Now, who caught wind of the new music in town? The
one and only Elvis Presley popularized the genre throughout the U.S and the
world. That was the first time blues was seen to have an impact on popular
music.
Inspired by the likes of Chuck Berry, Elvis Presley, Little Richard, and
Muddy Waters, British artists like the Rolling Stones, Eric Clapton, and The
Beatles started picking up their instruments. First, they borrowed a few pages
from the American blues. In fact, you can hear the classic blues chord
progressions clearly in The Beatles' 'Rock and Roll Music.' Artists then
started combining their own styles, and with a bit of experimentation, they
created Rock and Roll. For reference, you can check out Led Zeppelin's
'Bring it on Home' and note the differences between the intro and the rest of
the song.
From this point onwards, it is hard to establish a clear timeline and a
distinction between genres, since the '60s and '70s were the golden eras of
rock and roll. Jimi Hendrix played blues and rock but also dabbled with
psychedelic rock. Pink Floyd was primarily a psychedelic rock band. The
Beatles released 'Helter Skelter' and planted a seed for hard rock, which was
built on by AC/DC, Van Halen, and Aerosmith. The Kinks came up with
'You Really Got Me,' popularized the use of power chords (we'll talk about
them later) and influenced the music of famous punk bands, The Ramones
and The Clash.
From here, you can probably imagine how sub-genres such as heavy metal,
glam rock, grunge, indie, and rap-rock came to life; from here onwards, it's
just general knowledge. On the other hand, the few things you should take
out of this summarized evolution of rock are:
1- All it takes to make music is a simple chord progression and a lot of
emotion.
2- All artists borrow from each other. With enough listening and
practice, you'll be able to look at "complex" songs and see them as a
new version of something you've heard/played before rather than an
impossible piece.
3- If you ever decide to make music, you don't need to start from
scratch. You can build on years of innovation and still come out with
a unique sound.
That being said, if you're not a fan of rock or blues and are planning on
playing something else, you don't have to worry. This book is here to give
you all the basics and raw material you need so you can follow your musical
passion wherever it takes you.
A fair warning before we start. Some parts might get a tad too theoretical,
which can be boring for some so, whenever that happens, leave the book and
pick up your guitar. Take this opportunity to practice something you've
learned before or to familiarize yourself with your instrument. While it may
seem pointless, you'll find that once your fingers get used to the motions,
you're going to progress a lot faster when it comes to learning new chords
and songs.

Over the course of the following chapters, we'll cover a lot of topics; chords
& their uses, strumming, fingerpicking, practice techniques, along with some
scales and a bit of music theory. Through learning chords and how to pick
and strum, you'll be able to play most songs and even create some, at which
point, you might find an urge to skip learning less interesting things like
scales and keys. However, without learning those things, you'll find yourself
limited when it comes to creating solos, jamming with friends, and your
general progress. If you're not that invested in guitar, you don't need to waste
your time with them, but for those who are determined to achieve something,
you have to resist the urge to skip those chapters and power through. We
believe in you.
"For those about to rock, we salute you."
AC/DC
 Chapter 1

Guitar Basics

Aside from giving you a general sense of how to upgrade your instrument
when you feel ready to, we'll take this chapter to familiarize you with your
instrument. One of the characteristics of a good musician is their technique.
That's why it's important to learn how to hold and play the guitar properly
and to prevent bad guitar habits early on.

Guitar Anatomy
For the most part, all guitars are the same when it comes to their build, except
for the small differences between acoustic and electric guitars.
Common Parts
At the head of your guitar, you'll usually find six tuning keys that you can use
to adjust the tuning on your guitar by tightening or loosening the strings.
Moving down from there, you'll find the neck, which connects the head of the
guitar to its body.
On the neck, you have your fretboard where you'll be placing your fingers.
You will notice that it is divided into little sections called frets. On each
string, each fret represents a note. For example, if you pluck the first string
from the bottom, without placing your hand on the fretboard, you'll hear an E
note. If you place your left index on the first space between the guitar head
and the first metal strip and pluck, you'll hear an F note. If you take your ring
finger and place it on the third fret, you'll hear a G note, and so on. Needless
to say, the number of frets varies depending on the type of guitar. However,
you'll have at least 12 frets in most guitars.
On the body, you'll find that the strings are attached by pins to a horizontal
bar called the "bridge." If your strings are looped around the bridge instead of
pinned to it, that's completely fine; it's just a different style. Either way, as
you're changing your strings, you must take note of how the original ones
were stringed. It'll save you a lot of time and effort.
Speaking of the bridge, one component that is often underrated is the bridge
saddle. It's a little piece of plastic placed right on the bridge, separating it
from the strings. As you start to develop your technique, you might start to
notice that your strings are either too far away or too close to the fretboard. In
that case, depending on your guitar, you can either adjust its height or replace
the thing altogether.
Acoustic & Classical Guitars
The main physical difference between them and electric guitars is their sound
hole. Not only does it give these guitars their sound, but it is also designed to
amplify the vibrations coming from the strings. Try plucking a string from
right over the hole and then from a place right over the body. Closer to the
hole, you'll find a deeper sound. But this doesn't mean that you have to play
right over the hole. It all depends on the sound you want, so feel free to
experiment.
Electric Guitars
Since they connect to amplifiers, there's no need for a sound hole to control
the quality of sound. Instead, there are a few knobs to control the tone (extent
of distortion) and volume, along with a whammy bar that temporarily
changes pitch when you push or pull on it. In simpler terms, it causes the
sound to vibrate between pitches. For a frame of reference, it is a sound quite
common in Jimi Hendrix's music, or if you're aware of the term "vibrato,"
that is what the bar does. If you're planning on playing rock, blues, or folk
music, it's worth learning how to incorporate it within your playing.
Fun Fact: While the Whammy Bar is dubbed as a "tremolo bar," the effect it
has on sound is not a tremolo. It is, as we said, a vibrato. What's the
difference? Tremolo is a shift in volume, while vibrato is a shift in pitch.

Guitar Types
 Commons.wikimedia
Guitars are one instrument that allows for a wide variety of sound quality
depending on several factors, but at the end of the day, the variety boils down
to three main types.
1. Classical
As the name suggests, this guitar is often used in classical pieces. It is also
responsible for the remarkable sound of Latin and Spanish music, as well as
musical styles such as Flamenco. Because of the fact that they use nylon
strings instead of steel, classical guitars produce a much warmer and fuller
sound than their counterparts.
To better serve its purpose, a classical guitar has quite a wide neck to
maintain adequate space between the strings and only 12 accessible frets on
the neck. The width gives musicians enough space to play fast-paced
melodies without accidentally hitting other strings, especially fingerpicking.
And as for the number of frets, it is enough to cover the octaves needed to
achieve the sound quality desired from a classical guitar.
When compared to the electric and the acoustic, it is harder to get the hang of
when compared to an electric guitar and similar in difficulty to an acoustic.
Yet, when starting out, the sound of a classical may be a bit frustrating and
off-putting as the combination between the type of wood and the nylon
strings will accentuate any mistakes you make. That and, if you start off
expecting a defined, crisp sound, you'll be disappointed and quickly put it
down.
2. Acoustic
Acoustic guitars are well-known for their cold, crisp sound and high
resonance. You see, unlike the classical guitars, the acoustics are fitted with
steel strings instead of nylon ones. Despite sounding great, the steel strings
have one minor inconvenience, which is that they're harder to press on as
they are heavier and thinner. But, don't let that deter you because once you
get the hang of an acoustic, any other guitar would be a step down in terms of
playability. Meanwhile, you'll find that most of those who start on electric
guitars have trouble with acoustics at first because of the high resistance of
acoustic strings and the wider guitar neck.
Acoustics, while less "glamorous" to those starting out, are often viewed as a
sign of artistic maturity. If you're an avid metal or rock fan, you've probably
noticed that after achieving a solid stream of success, a lot of bands start to
work on acoustic albums or tracks. So, to sum up, this point, an acoustic will
be challenging at first, but it will do wonders for your finger strength,
precision, and speed.
Lastly, some acoustics guitars, also known as semi-acoustic, have an output
jack so they can connect to amplifiers, which makes them quite versatile. But,
keep in mind that this doesn't mean you can substitute a semi-acoustic for
electric guitars. Other than the vast difference in sound, standard acoustics
only have from 12 to 14 accessible frets, which is a lot less than an electric
guitar's 21 frets.
3. Electric
To continue where we left off, electric guitars have longer necks, which
makes them able to house from 21 to 24 frets. Why this insane number? To
allow for reaching high notes during solos and riffs. Even more, the neck also
happens to be narrower and the strings closer to the fretboard to reduce the
effort needed to play clear notes since fast picking is a staple for all-electric
guitar players.
Sound-wise, electric guitars have a digital texture that becomes more
noticeable as you hit the high notes, but this doesn't mean they all sound the
same. Each guitar has a unique sound depending on the thickness of its steel-
strings and the type of its pick-ups (magnets that track a string's vibration and
convert it to electricity). For example, a Les Paul guitar sounds warm and
deep because it is made with two Humbucker coils. It is more suitable for
genres like classic rock and reggae. Meanwhile, a Stratocaster sounds sharper
and brighter because of its single-coil pick-ups.
Once electricity got thrown in the mix, a lot of possibilities opened up. With
electric guitars, you can use effect pedals to add heavy metal-type distortion
or a bluesy wah-wah effect, in addition to so many others. Not to mention,
you can control your guitar sound even more through your amp, depending
on its quality.
As appealing as this sounds, if you're starting out and haven't bought a guitar
yet, we recommend you don't start with an electric right away. Learn your
basics on an acoustic, and gradually you'll feel when it is time for an upgrade.
Let's not forget that electrics are a lot more expensive than acoustics.

Strings
Nylon Vs. Steel Strings
- Do they really sound all that different?
Yes. The difference in sound is as remarkable as the difference between an
acoustic and an electric. A steel strings sound bright and sharp, which is why
you'll mostly find them in blues, country, and rock. A nylon string, on the
other hand, provides a thicker, mellower, and warmer sound. It is the kind of
sound you'd expect to hear in Flamenco and classical music. Can you see
how each type of string corresponds with a certain type of guitar?
- Can't I just replace nylon for steel whenever I want?
The answer to that is no. You absolutely cannot mix and match strings as it
will damage your guitar, and it will affect your playing. Here is why:
Classical guitars are built for nylon strings that are light and soft and don't
have high tension. Meaning, these guitars don't have a steel component
embedded in the neck called a truss rod. So, what does a truss rod do? It
supports and straightens the neck of steel-stringed guitars. If you use steel
strings on a classical guitar, the neck will get bent out of shape under the
string tension.
As for using nylon strings on an acoustic guitar, you won't have to worry
about breaking your instrument, but you'll face a lot of difficulties playing.
Because nylon strings are thicker and acoustic guitar necks are too straight
and rigid, sooner or later, you'll start hearing a buzz in the strings, and you'll
feel the strings sit too close to the fretboard. It is quite an inconvenience since
you'll need to make adjustments to your guitar like removing your truss rod
and, even then, it may not feel that different. All in all, they're okay for a
temporary measure, but they are not fit to be a permanent thing.
- Which is better for beginners?
Nylon strings are softer on the fingers, which means they won't be as painful,
and you won't develop calluses as fast. But the fact remains that you will go
through a little pain and you will eventually develop calluses all the same. So,
our advice is to pick the ones that sound the best to you.
String Gauge
The gauge is the thickness of a string, and it is responsible for how your
strings sound and play. The overall range is from 0.10 to 0.59, the first one
being the lightest. When buying strings, you're going to find packs labeled
from extra-light to heavy. The heavier strings exert more tension on the neck,
which makes them harder to press and bend, but in return, they sound louder
and highlight the bass notes. On the contrary, lighter strings are a lot easier to
bend and control since they're not as thick. One disadvantage is that they
have a higher tendency to break, but it is a fair price compared to the treble
enhancement you'll hear when you play the three lower strings.
At the Store
When you first approach the string section at a shop, there is a chance you'll
be overwhelmed by the choices and the many types of material. Here is what
you need to know for now. Buying a set of strings shouldn't be a difficult
task. There's no need to worry about getting a "bad set." Every material
sounds different, and each gauge has its perks and drawbacks, which is why
we didn't go through the effort of explaining in detail. The fact of the matter
is that it's all about experimenting and personal tastes. As long as you buy
something of good quality, you'll be fine. And if you don't like it, you can
always change strings.
Tunings
As a guitarist, the standard tuning you need to memorize is the standard E
tuning: EADGBE.
 Note String Octave
4 (high
E 1st pitch)
Treble
Strings B 2nd 3
G 3rd 3

D 4th 3

Bass Strings A 5th 2

2 (low
E 6th
pitch)

Through repetition and regular tuning, you'll easily memorize it, but in case
you prefer to have a mnemonic device, our personal favorite is:
"Eddie Ate Dynamite, Goodbye, Eddie."
That's just us, though, you're obviously welcome to try and come up with
your own cool phrases.
So, what makes this tuning special?
Nothing really. It was just agreed upon back in the day because it was
physically convenient and relatively musically neutral. It allowed artists to
easily play scales and provided a convenient sound.
Does that mean there are other tunings?
Of course, but you don't need to memorize them. When you first begin
playing, it is best to put your effort into mastering playing on the standard E
tuning. When you start having trouble finding the sound you want, that's
when you should try alternative tunings.
One of the most famous alternative tunings is Drop D tuning. To get there,
you need to lower your 6th string from an E to a D, resulting in a deeper and
heavier sound. It is quite a famous tuning among grunge and heavy metal
artists. And it opens up the chance to play two extra power chords* on the
sixth string; Eb (E flat) and D.
Other tunings include DGCGCD (from low to high), which was mainly used
by Jimmy Page in Led Zeppelin's 'The Rain Song.' It has an eerie, mystical
vibe to it that stands as a testimony to how amazing alternative tunings are
when used correctly.
Pro tip: when you switch tunings, don't expect to use all the same chords you
previously knew. Because the basic notes change, the chord shapes also
change, so make sure you look up the appropriate chords for your tuning.
*Chords composed of two bass notes. 

Pickpik

Guitar Pick Vs. Fingers

The most frequently asked questions are about the difference between
plucking using fingers and a guitar pick.
For starters, if you don't know what a pick is, it is a triangular piece of plastic
used to pluck strings. It produces a loud, bright, and clear sound. In
comparison, fingers are easier to play with, but they produce an overall duller
sound.
To explain this next part around sound consistency, try strumming down your
strings using the flesh of your thumb, then try the same thing using your
nails. If you've done it right, the first strum was duller than the second. When
fingerpicking, each strum, and pluck will sound different depending on the
part of your finger you used. A pick, nevertheless, is made of one single
material, which means that the sound you produce will be completely
uniform. Neither qualities are bad; they're just different and depend on your
preference.
Another point is that picks can be very helpful during solos and riffs if used
right mainly because a pick's tip can be used to pluck strings in both
directions. Using fingers, though, unless you use two fingers, you have to
pluck the string, remove your finger for momentum and then pluck again,
which takes a longer time. However, fingers have an irreplaceable perk,
which is the ability to play multiple notes; you can easily use your thumb to
let a bass note ring while you play the lower strings. That and it is easier to
play fingerstyle songs with four fingers in place of one pick that goes up and
down the guitar.
In summary, a pick is good for speed and consistency, but your fingers can
help you play more complex melodies and picking patterns. Plus, if you're
not holding a pick, you can tap/slap your guitar if the song calls for it. As a
beginner, it doesn't matter what you start with as long as it will help you best
play the genres you want. But we recommend that you learn to play with both
styles as they'll help you expand your technical ability.
In case you decide to buy a pick, what you need to keep in mind are two
things: thickness and size. First, you're going to want a pick that fits right
between your thumb and index finger. If you buy an overly large one, you're
guaranteed to struggle while playing. Then there's the thickness of the pick,
which determines its flexibility. A thinner pick will give you a brighter sound
but will also bend when it comes in contact with a string. Meaning, it won't
give you much control, but it is easier to use. A thicker pick will produce a
duller sound but, because of its sturdiness, it will give you all the control you
need. For best results, opt for a thickness of around 0.96mm; it is the best of
both worlds.

How to Tune
Tuning a guitar is an extremely simple process. As excruciatingly annoying
as it is to have to put your excitement on hold while you tune your guitar
before playing, it is something that must be done. On the bright side, the
more you play, the less time you'll spend tuning.
Onto the actual tuning process, there are two ways to tune a guitar.
1. Using an Electronic Tuner or an App
You can purchase a tuner online or from any music shop, or you can
download apps like Guitar Tuna and Piano Tuner on your phone.
Then you need to pick your instrument and the string you're tuning. Pluck the
string, see how far off your string is, and tighten or loosen your tuning keys
accordingly. One thing you should make sure of is that each string is tuned to
its proper note. For example, your first string could sound like a perfect D;
some apps will show you that it is properly tuned. They won't be wrong
because the string is technically tuned, but not to the standard E tuning.
After tuning all your strings, strum a chord to double-check your tuning. If it
checks out, congratulations, you've done a great job.
2. Tuning by Ear
This method is a little harder because you need to know what the notes sound
like first, so don't pressure yourself to learn this way until you sharpen your
listening skills a little. But make sure you eventually learn how to do it
because it will take your musicianship to the next level by training your ear to
detect the slightest changes in pitch.
Before tuning, you need to understand how the tuning keys work. In other
words, which direction tightens the string and which one loosens it. That
way, when you hear a note, you'll know the general direction you should be
turning in.
Tuning by ear depends on using a reference note. Some people use a piano
since pianos rarely go out of tune, but for our purposes, we'll use an online
reference note. Keep in mind that, with this method, we always tune from the
sixth string (lowest pitch) to the first (highest).
After Googling anything along the lines of "low E reference note guitar,"
pick any website or YouTube video, listen to the note, and then play your
own sixth string. What you want is for your string to sound exactly like the
reference note. If you feel there's a difference between the two sounds, do
these two simple steps:
 1- Try to detect whether your string is higher or lower than the note.
2- Turn your tuning key little by little while stopping to play the
reference note between each tweak to make sure you're getting closer.
Once you've tuned your sixth string, it's time to use that string as a reference
for the rest of your guitar.

String Reference Note

A E string – 5th fret

D A string – 5th fret

G D string – 5th fret

B G string – 4th fret

Ehi E string

If you look at the table, you'll see that the fifth fret on the sixth string sounds
the same as an open fifth string. On the fifth string, the fifth fret sounds like
an open fourth string. On the fourth string, the fifth fret sounds like an open
third string. On the third string, the fourth fret sounds like an open second
string. And, finally, the open first string sounds the same as an open sixth
string.
Through repetition, you'll be tuning your guitar in no time. It's all about
getting used to the sounds.
Before we leave behind the subject of tuning, we recommend you tune your
guitar at the start of every session or whenever you feel it is out of tune. The
last thing you want is to get used to playing off-tune. And, be careful not to
over-tighten/over-loosen your strings; they will either snap or become flaccid
and unplayable.

Handling Your Guitar

Properly holding and playing your guitar should be your number one priority
as a beginner, until these things become automatic. This will prevent you
from developing any bad playing habits which can hold you back and add
unnecessary strain on your fingers and back. 
Position & Posture
Holding your guitar is all about posture. Ideally, what you need is a footstool
(available at any music store) or something that you can prop up your leg on.
If you're right-handed, put your right foot on the stool and place the curvature
of the guitar on your right thigh and vice versa.
Another way to hold your guitar is by elevating your left leg and positioning
your guitar on it if you're right-handed, and vice versa for lefties. This way
elevates the guitar neck a little and gives your arm more leeway to move
across the fretboard.
Whatever way you choose, make sure that you're holding your guitar upright
instead of having it slanting backward. We know that it is tempting to look at
your fingers, but in the long run, and if you happen to practice/play for long
periods of time, it won't be good for you.
At first, it may be challenging to find the correct notes without looking
directly at your fingers. But if you take a good look at your fretboard, you'll
find dots or position markers on the third, fifth, seventh, ninth, and twelfth
frets. Using the markers as a guide, you can move your fingers across the
fretboard with a lot more ease.
Finger Positions
For right-handed players, the left hand is called the fretting hand; the hand
used to fret, while the right hand is called the strumming hand; the hand used
to strum.
Proper fretting hand technique starts with you aligning your four fingers with
the first four frets and using your thumb to hold the neck from the back. This
leads us to one common misconception: you should always keep your thumb
behind the neck.
When playing scales, you're going to need the full length of your four fretting
fingers, so you'll need to lower your thumb a little behind the neck while
keeping it pointed upwards. But, on other occasions when playing certain
chords or when playing vibrato (bending your strings), you'll need your
thumb to go over and around for fretting an extra note or for giving your
fingers a grip on the neck. Yet, through all movements, make sure to keep the
wrist on your fretting hand straight to avoid pains later on.
As for your strumming hand, try to get it used to a resting position with your
thumb on the sixth string and your following three fingers on the bottom
three strings. Unfortunately, the pinky doesn't have much use when
fingerpicking or strumming.
Note: The fretting fingers are universally known by the numbers 1 (index) to
4 (pinky). This piece of information might come in handy when talking to
other musicians or when looking at tabs/chord charts.
Exercise
Now that you know the proper posture and finger positions try playing the
first four frets of each string. Don't worry about speed, for now; you'll find
yourself building up speed when you're comfortable enough. Focus on
accuracy.
Alternating between your strumming index and middle, start with four plucks
on the first fret of the first string and follow suit until you reach the end of the
sixth string. Then switch to three plucks per note as you go downwards. Do
that until you reach one pluck per note. Try to keep your thumb behind the
neck and pointing upwards to keep your fingers free to move.
 Chapter 2

All about Scales

We all have come across the word "musical scale" at some point in our lives.
They're used to compose songs, and they're not at all complicated. In fact,
you already know the most famous scale of all. Ever heard this series of
notes, "Do-Re-Mi-Fa-Sol-La-Ti-Do?" It might sound foreign, but it is quite
popular among musicians and those who have watched 'The Sound of Music.'
The reason these notes' names sound strange and not at all like the
alphabetized notes and chords we're used to, is because it's Italian
terminology.
Early music theorists in Italy came up with these syllables to name their
notes, make it easier to read and write music, and better understand scales
and pitches. It's known as the solfège or the solfeggio system. Nowadays, we
mostly know the notes by their English names; C-D-E-F-G-A-B-C.
If we place them against each other we'll end up with:
C D E F G A B C
Do Re Mi Fa Sol La Ti Do
And, just like that, you’ve got yourself a C Major scale; one of the most
essential scales you should know.

What is a Scale?
Now, let’s take a beat, slow down, and look into what makes up a scale.
Looking at the C-Major scale above, you’ll find 7 different notes for a total of
8 (the C is repeated). That is because in our standard diatonic scale we have 7
notes followed by the root note (the first note) but in a new octave.
Still sounds complicated? Well, that’s why we have this picture of a piano.
As you can see, in a piano, you have the same set of keys repeated seven
times. If you play the keys on one end, you'll find them annoyingly high-
pitched. The other end, however, will sound menacingly low-pitched. That is
because each set of 8 white keys, and the blacks between them, makes an
octave. What a scale does is take you from an octave to the next. So, if you
start at C and press on all the white keys, you'll end up at C again but with a
different pitch. Much better, right?
After wrapping your head around this part, take another look at the piano.
There are white keys with black ones in between; white keys are natural notes
(A-B-C-D-E-F-G), and black keys are accidentals (sharp and flat notes). The
musical distance between any two keys is a semitone or a half-step. If you go
from a white key to the black one right after it, that's a half step. If you move
forward one more key, that's a full tone or a whole step.
There is, however, an irregularity. While the distance between all other
natural notes (white keys) is one whole step, the distance between E&F and
B&C is a half-step. On a piano, these are the only white keys that aren't
separated by a black key.
Why are you even reading this, and why are we talking about pianos?
Because from here, you can understand which notes go into a scale, and that
means you won't ever have to memorize a scale. But, at the end of the day,
this is a book about guitars so, before we explain scale formula, let's apply
what we've learned on guitar.
How Does This Translate on Guitar?
On piano, everything is pretty much straight forward. Notes are marked in
white, and sharp/flat notes are marked in black, and everything is in order.
On guitar, it isn't as easy, but it isn't complicated either.
Each fret represents half a step. Try playing an open first string without
touching any frets. That note is an E. If you put your finger on the first fret
and pluck again, you'll hear an F. If you put your finger on the second fret,
you'll hear an F-sharp or F# (a note halfway between F and G). Finally, if you
press on the third fret, you'll hear the good ol' G note.
To explain this quickly, as we said when talking about piano, E&F is
separated only by a half-step, so; we only had to move once. But, to get to a
G, we had to move two half-steps (F to F# and F# to G).
Can you guess which note lies on the fifth fret?
An A, followed by a whole step to B on the seventh, a half-step to C on the
eighth, a whole step to D on the tenth, and another whole step back to E on
the twelfth.
Taking what we already know about octaves, eight notes make an octave. So,
if you start with an E at the open string and hit another E on the twelfth fret,
you've just gone an octave higher.
With the rest of the strings, the note arrangement changes according to the
string's tuning, but the same concepts of whole and half steps apply. Each
string has the same notes but in different places with different pitches. And
the first note (open string) always repeats itself at the 12th fret.
Accidentals
Right between our two main points is a perfect place to learn about
accidentals. Confused? You'll understand more as you read.
An accidental is a note between two natural notes; they're what you end up
with when you move a half-step from any natural note except B and E. On
piano, they're the black keys, which makes them easier to spot than on guitar.
But, they're not that hard to find on guitar as long as you know your notes.
Accidentals can be either sharps or flats. You'll know a sharp note by the "#"
next to it and a flat by the (b) symbol next to it. Here's what they look like in
a scale:
A, A#, B, C, C#, D, D#, E, F, F#, G, G#, A.
Or
A, Bb, B, C, Db, D, Eb, E, F, Gb, G, Ab, A.
If you play these two series of notes, you'll realize that they're identical. The
only difference is in how they're written. If you think about it, an A# is a Bb
but from a different direction. To make it even easier, let's define the notes.
A#: the note a half-step above A, right between A and B
Bb: the note a half-step below B, right between B and A
A final observation before we move on - there is no B#, Cb, E#, or Fb. That's
because the distance between B&C and E&F is only a half-step, which leaves
no room for accidentals.
Scale Formula
Instead of memorizing scales and ever-changing letters, with the proper
knowledge of music theory, you can use concrete formulas to deduce/extract
a scale from any note you're given.
Because there are major scales and minor scales, the formula changes with
this change in type.
For a major scale the formula is:
W: whole step, H: half-step

W W H W W W H

1 (root) 2 3 4 5 6 7 8 (root)

As you can see, between the first note of the scale (the root) and the second,
lies one whole step; as with the second and third. Between the third and
fourth, though, the distance is a half-step. And so on until we end on the root
again.
C Major Scale
Remember this scale from earlier in the chapter? Let’s use the formula to
deduce it.
The first note was a C, hence the name.
According to the formula, we should move a whole step to get the second
note. If you move two keys or two frets from a C, you’ll end up with a D.
Second note is D.
Another whole step will take us to an E.
Third note is E.
Add a half-step, you’ll get an F.
Fourth note is F.
Add a whole step, you’ll get a G.
Fifth note is G.
Add a whole step, you’ll get an A.
Sixth note is A.
Add a whole step, you’ll get a B.
Seventh note is B.
Add a half-step, you’ll get a C.
Eighth note is a C.
All in all, it How to Play
should look like this: C-D-E-F-G-A-B-C.
Because all the strings have all the notes, you can play a C major scale in
several areas on the fretboard. Each area has a different range of pitches, but
the notes remain unchanged.
The first and easiest area uses open strings and the first three frets. This table
marks all the scale notes.

String Open 1st Fret 2nd Fret 3rd Fret

E O O O
B O O O
G O O
D O O O
A O O O
E O O O

Exercise
Start by playing the G on the open first string followed by the rest of the first
string notes and work your way up the scale until you reach the open sixth
string. Then, work your way back down by playing the notes in reverse from
the sixth string to the first. Do it as many times as it takes you to get used to
the positions. Work on your accuracy and your speed will increase
automatically.
Remember to keep your wrist straight while maintaining proper posture and
finger positions. Once you’re done, if you’re interested, look up the C major
scale online to see how to play it across the entire neck.
G Major Scale
Another essential major scale is the G major scale.

G A B C D E F# G

For practice, try applying the ‘W-W-H-W-W-W-H’ formula to see where the
notes came from. When you do so, you’ll come across an F# instead of a
natural note since, a whole step from E means going another half-step beyond
the F. It may look strange at first, but the truth is all major scales have either
sharp notes or flat notes except for C major.
How to Play
Unlike the C major, the G major doesn’t use any open strings. The first
position for it starts from the second fret and you can find it again around the
fifth, seventh, eighth, tenth, and twelfth frets.
The table here shows the first positions for the scale:

String 2nd Fret 3rd Fret 4th Fret 5th Fret

E O O O
B O O
G O O O
D O O O
A O O O
E O O O

This scale starts from A on the fifth fret of the first string and ends at F# on
the second fret of the sixth string. If you follow the notes one by one, you’ll
see that you’re only playing the notes of this particular scale.

Exercise
Repeat the same exercise above for this chord until you get the hang of it.
Then, try going from one scale to the other. First, make sure you can play
them back to back. Then, for a smooth transition between the two, pick any
note that is common between both scales; you should find plenty on the
second and third frets, and use it as a bridge. Play one scale until you reach
your bridging note and then follow through with the other scale.
It might take a while to get used to it, especially because you’re going to be
moving along the neck, but don’t give up. You’ll find the exercise proving its
worth when you’re playing solos, barre chords, and multiple chord
progressions, and if you ever decide to write a song, you’ll have an idea
where and when to transition smoothly.
Minor Scales
The second type of scale is called a minor scale. It has the same number of
notes as a major scale, but it has a different formula, which means, minor and
major scales of the same root note aren’t at all the same.
The formula for minor scales:

W H W W H W W

1 (root) 2 3 4 5 6 7 8 (root)
We still have the same number of whole steps and half-steps, but they’re
arranged differently to use lower pitches and flatter notes.
Natural A Minor Scale
This scale is often the one most people choose when approaching scales for
the first time. It not only sounds great but is also quite easy to play. Plus, it
does help when it is the scale used in one of the most famous songs of all
time, Led Zeppelin’s ‘Stairway to Heaven.’ Despite Jimmy Page’s basic use
of the scale early on in his solo, it still sounds great.
The notes for this scale are:

A B C D E F G A

What’s interesting about this particular chord is that it has all the notes for a
C major scale, but since we changed the root note (A instead of C), the
whole arrangement has changed. This relation makes the C major a relative
key to the A minor.
Even in the way they’re played, you can see a similarity between the two
chords, however, they’re not at all identical.

Here’s the most popular A minor pattern:

String 4th Fret 5th Fret 6th Fret 7th Fret 8th Fret
E O O O
B O O O
G O O O
D O O
A O O O
E O O O

Exercise
After practicing the scale and getting the hang of it, listen to ‘Stairway to
Heaven,’ specifically the first part of the solo starting from 05:59. Note how a
scale can be used to make up a melody; it’s all about the tempo (timing).
Relative Keys or Scales
These are major and minor keys that share the same set of notes, but with a
different arrangement. While they offer varying ranges of emotion, they
sound closer to each other than any other scale would when compared to
either of the two scales.
Since a natural A Minor is the relative for C major, you can expect them to
sound similar, but, again, that doesn’t mean they’re identical. Why not?
Because the note emphasized throughout the scale changes. To make it
clearer, when you start playing a C-major, your brain will start perceiving all
other notes in relation to the C-note. On the other hand, when playing an A
minor, your brain will hear each note according to its relation to the A. If
you’re still having trouble understanding, imagine drinking hot cocoa right
after eating a candy bar; the hot cocoa won’t taste as sweet as it should.
Why? Its taste is influenced by what you ate before it, whether it’s a spoonful
of salt or a candy bar.
Nevertheless, because of the relationship between relative chords, when
improvising, you’ll find that you can borrow notes from both scales; it’s a
way to expand your options.
To locate a relative scale, go back three semitones from any major scale or up
three semitones from any minor scale. Using the C/Am example, three half-
steps from C means C-B-Bb-A. And if you don’t feel like doing it yourself,
just use this next table to help you through it.

Major Scale Relative Minor

C Am

C# A#m

D Bm

D# Cm

E C#m

F Dm

F# D#m

G Em

G# Fm

A F#m

A# Gm

B G#m
Natural E Minor Scale
Aside from the melancholic sound, this scale has a certain groove to it that
makes it suitable for all bass-heavy songs. From heavy metal songs like
Metallica’s ‘Enter Sandman,’ to catchy bass lines like that at the beginning of
White Stripes’ ‘Seven Nation Army,’ the scale’s low pitch range has a way of
highlighting the bass.
It’s composed of:

E F# G A B C D E

Can you guess its relative major? You’ll find the answer at the end of the
section.

To play it, as usual, follow the table:

String 2nd Fret 3rd Fret 4th Fret 5th Fret

E O O O
B O O
G O O O
D O O O
A O O O
E O O O

As for the relative scale, it’s a G Major.

Exercise
Play the scale until you get used to it and don’t forget to maintain your
posture and finger positions. For the faraway notes, it’s best to use your pinky
despite it being the hardest finger to control - you’ll be forced to use it
eventually, so you might as well practice.
After mastering the scale, try to transition between it and its relative major by
using a common note as a bridge.

The Difference Between Minor and Major Scales

The key to being a good musician is learning how to differentiate between
sounds and their “quality” or “feel.” This is why it is extremely beneficial for
you to know the differences in sounds between notes, chords, and major and
minor scales.
When talking about minor scales, we mentioned them having flatter notes
and lower pitches when compared to their major counterparts. The reason for
that goes back to the formula. In other words, because of the difference in
formulas, if you compare a C major scale to a C minor scale, you’ll find that
the minor one uses flatter notes.

Major C D E F G A B C
Minor C D Eb F G Ab Bb C

These flatter notes affect the overall sound of the scale. While a C major
sounds bright and uplifting, the C minor has a slightly ominous and dark
quality to it. Broadly-speaking, this is the basic difference between minor and
major scales; majors are brighter, and minors are sadder and gloomier.
Minor scales also tend to be more emotional and provocative, which explains
why they're often used and highlighted in blues and rock. The Eagles' 'Hotel
California' is an example of a song in B minor that when you focus on the
solo at the end of the song, you can truly see its emotional value. It has a hint
of desperation and helplessness that fits quite well with the rest of the lyrics.
Meanwhile, Jason Mraz's 'I'm Yours' is an example of a happy song that uses
chords rooted in a B major scale. Check both songs out, and you'll notice the
contrast between both scales.
Why Learn Scales
A large number of musicians are instantly turned off whenever they hear any
talk of "learning scales," and it goes double for anyone who has had a bad
experience with music teachers. General curiosity turns into, "Why should I
learn this? I don't need a scale to make a bunch of notes sound great." And
they're not wrong.
Scales aren't supposed to put you on a concrete path or kill your creativity.
They're supposed to give you the tools to achieve what you want; each scale
comes with its own feel and range of emotions. When you play a note, having
"potential scales" in mind helps you figure out where you're going with the
melody. Instead of choosing notes at random and barely finding the vibe
you're looking for, you can use an appropriate scale as an outline to help you
arrange your thoughts.
Another reason scales are important is that they can help you understand
songs in a way that can help you add your personal twist on them instead of
just memorizing the chords. Firstly, scales are how chords are made.
Secondly, if you haven't already figured it out, each group of notes on a scale
has a distinct sound. Songs use a number of chords from one scale. Once you
know where the chords lie on a scale, you can use the same order of chords
(1st, 5th, 6th, etc…) and change the scale. This way, you can make any sad
song sound eerily happy.
Last but not least, without scales, you won't be able to keep up during jam
sessions. Scales are one of the many ways musicians communicate. In any
given jam session, you're going to need a scale, not only to keep you quick on
your feet by providing instant options but also for other musicians to tag
along. If you're playing a C major scale, for all the sounds to work together,
others will also have to play within the same scale else; it's just a bunch of
instruments playing at the same time. Individually, you can sound good, but
as a group, it just won't work. Ever heard the phrase "off-key?" It's when
someone sings or plays a note that doesn't exist within a musical key or a
scale; it's the equivalent of a typu, sorry a typo, in writing.
Triads
Now that we've covered scales, we've set a good basis for triads. Triads are
an organized crime institution that originated in China. (If you're one of those
who can't help but think of that definition, this joke was for you).
Seriously, though, musical triads are, as the name suggests, musical notes in
groups of three. Technically speaking, a group of two or more notes played
together constitutes a chord. Using this definition, any triad counts as a chord.
We'll explain later, though, how this conclusion doesn't go both ways; not all
chords are triads.
Thirds
When studying triads, there are a couple of musical terms you need to
memorize; they'll help you out a great deal. These are the Major Third and
Minor Third. We literally meant a "couple" of terms; it wasn't figurative at
all.
The major and minor thirds are musical distances. Actually, they're how
major, and minor scales got their names. Remember the formula of a major
scale? It's W W H W W W H. If you calculate the distance between the first
and third notes of a major scale, you'll find it to be two whole steps: 1 W 2 W
3. So, in summary, a major third means two whole steps or 4 half-steps.
The same concept goes for minor thirds. If we take the formula of a minor
scale, W H W W H W W, and extract the distance between the first and third
notes, we'll get a whole step and a half-step: 1 W 2 H 3. A minor third is one
whole step and a half-step or 3 half-steps.

The Four Types of Triads

1- Major Triads
As you now know, major triads are composed of three notes. Where do we
get those notes from? Major scales.
The formula of a major triad is adding a major third unto the first note of a
major scale, then adding a minor third unto the result. It sounds like too much
math until you try it.
Let's use one of the scales mentioned above: G Major.
The first note, or the root of the scale, is G.
Adding a major third or four half-steps means going from G to B.
If we add a minor third or three half-steps on that B, we'll get to D.
Those three notes, G, B, and D, make up the G major triad.
Another much easier way to make up a major triad is by taking the root note
(the first) and adding to it the third and the fifth notes of a major scale.
How about trying a triad from a more complex scale like a B major?
First, list the B major scale: B-C#-D#-E-F#-G#-A#-B.
Our third and fifth are D# and F#.
Combined with the root, this leaves us with B-D#-F# as our triad.
We won't stop you if you want to compare both methods and see if they get
the same results, but to save you the time, they do. The first one is just more
"scientific."
2- Minor Triads
Just like major triads, minor triads come from minor scales. To make up a
minor triad, you need to add a minor third to the root note and then add a
major third after that.
Here's what it looks like using the Am scale:
Adding a minor third or three half-steps to our root note A will take us to C.
From the C, if we go a major third or four half-steps, we'll reach E.
Am triad is made of A, C and E.
And, for the big reveal, you can get a minor triad by using the same third and
fifth method we used for major chords.
To put it to the test, let's get a G minor scale: G, A, Bb, C, D, Eb, F, and G.
Its third and fifth are Bb and D.
Altogether, the triad is G-Bb-D. Not only does it check out with the minor
third + major third formula, but if you look at the notes in a Gm chord, you'll
see those exact notes.
3- Augmented Triads
What the augmented triad basically is, is a major triad and then some. It's the
result of adding two major thirds to the root note of a major scale. These
triads, labeled as "aug," end up making augmented chords that sound
incomplete, but just enough, to build up the intrigue. Also, when compared to
their major counterparts, augmented chords sound very similar, except for a
tad of subtle aggression.
How to build an augmented triad using C major:
Add a major third to the C; it will leave us at E.
The other major third should take us from E to the last note of the triad, G#.
C aug triad: C-E-G#
4- Diminished Triads
A diminished triad is the exact opposite of an augmented triad. Instead of two
major thirds, diminished triads are made of two minor thirds and a major
scale. Like other triads, they are also used as a basis for building chords.
More specifically, diminished chords, and they're always marked with a
"dim" next to their root note ex. C dim.
For a scale, let's go with C major again:
If we add two minor triads to a C, we'll end up stopping once at Eb and once
at Gb.
C + 3 half-steps = Eb
Eb + 3 half-steps = Gb
A C dim triad should look like this: C-Eb-Gb
If we compare the C aug to the C dim up close, you'll see how their notes
affect their sound. C aug triad is C-E-G#, which makes it sound brighter,
while the C dim has two flatter notes, Eb and Gb. They make the sound a lot
darker.
From the name, you can tell that diminished chords are "less" than major
chords. They lack two things: stability and brightness.
Diminished chords offer neither the satisfaction nor the sense of resolve that
major chords do. They leave the listener wanting more. And, they're
definitely more disturbing, gloomy, and unsettling. Some even have a dark,
gothic feel to them but the good type of Goth, the one you see in novels like
Bram Stoker's Dracula and Mary Shelly's Frankenstein or their film
adaptations.
So, in summary, there are four types of triads, which, in turn, create four
types of chords. The two main ones, major and minor chords, as well as the
less popular augmented and diminished chords.

Scales, Triads, and Chords

We have already mentioned that all the notes in one scale, or one key, fit
comfortably together, and that's why most songs are composed in one
musical key. But, it goes so much deeper than that. Each note on a scale has
some sort of impact on the derived chords that follow.
This here is a C Major scale; you know that by now. Below are the chords
derived from its notes. In other words, if you were to make a song using this
scale, these are the chords you'll have to choose from.

Scale C D E F G A B C
Chords C Dm Em F G A Bdim C

To address the elephant in the room, this major scale has both, major and
minor chords, all scales do. What’s more, they also have augmented and
diminished chords. This relates back to triads. If you want to build a C chord
in the key of C, you’d need a C major triad (C-E-G). But, let’s try building a
D triad, the D’s third is an F and its fifth is an A. What does that make? One
minor third and one major third, also known as, a minor triad. Using this
logic, we ended up with the result you see above.
Because we’ve been dealing in formulas up till now, there’s no reason for
any type of chords to exist at random. Guess what, there’s also a formula for
the types of chords within a major scale.
Chord/Note Order Triad/Chord Type

I Major

ii Minor

iii Minor

IV Major

V Major

vi Minor

vii˚ Diminished

Chords are often numbered using roman numerals. The ones above are 1 to 7.
Uppercase numerals indicate a major chord, lowercase numerals indicate a
minor chord and the “˚” symbolizes a diminished chord.
The same rules apply to minor scales, as well. They’re not limited to minor
chords only. Check out this Bm scale.

Scale B C# D E F# G A B
ChordBm C#dimDmajEminF#minGmajAmajC#dim

If we use the third and fifth method to extract the triads, these are the triads,
and therefore, chord types we’ll find within a minor scale.

Chord/Note Order Chord Type

i Minor

ii˚ Diminished
 III Major

iv Minor

v Minor

VI Major

VII Major

Using these formulas, you can come up with complementary chords on the
spot, which, again, is all that you need to make a decent melody. And if
you're not interested in making music, you can use them instead to know a
song's chords/scale just by listening to it.

The Functions of Chords within a Scale

Saying that a scale helps you pick chords that work together is an
oversimplification. It's not just that the chords of a scale that fit comfortably
together; it's that they all have a complementary relationship that controls the
melody.
The first, third, and sixth chords of a scale, also known as tonic chords, can
successfully resolve a melody, either of the three can help you smoothly put
your melody to rest. We've all heard artists play one extra chord when ending
their songs. It's not that they're showing off their skills; they had all the songs
to do that. The last chord or note they add simply feels like home base, it has
a "finale" vibe to it. And, more often than not, that last chord is the same as
the first chord.
The fifth and seventh chords, the dominant chords, drive the melody forward.
These are the chords used in the middle of verses and to set up the stage for
the tonic chords. They are the ones that create the most tension among all
other scale notes.
Finally, we have the second and fourth chords, the sub-dominant chords.
They aren't as defined as dominant chords. They're… sub-dominant. They're
usually used for providing gradual rises and falls in melody to draw in
listeners or to draw them out smoothly.
 Chapter 3

Major Chords

In this chapter, we'll dive into the juicy stuff. If you haven't skipped over the
scales chapter, we thank you, and you will be thankful in the future too. We
know it's not fun going over the same scale 50 times; we've been there
before. Fingers cramp, sounds meld together, and you start thinking, "This
was supposed to fun..." Well, it's time for these things to stop now as we get
into chords.
When you're starting out, hearing yourself play chords or a solid chord
progression is always an encouragement. Plus, with chords come all these
milestones like perfectly playing your first chord, finally being able to
transition smoothly between a set of chords, playing your first song, and the
list goes on. Without further ado, here's all that you need to know about
chords. Hopefully, by the end of this chapter, you'll have the tools to play
your first song of many to come.

What are Major Chords?

The previous chapter told three things about the origin of chords. One, chords
are groups of two or more notes played together. Two, triads are the basis of
chords. And three, that there are two main types of chords; major and minor.
How does one build a chord from a triad, then? Well, the way chords relate to
triads is simple. Essentially, chords are triads with added notes. As we
explain the major chords, we'll analyze each chord's note structure. What
you'll notice is that chords contain the same notes in their triad, but not the
same number. So, if a C triad consists of C, E, and G, one of each, a C chord
will contain two of the C and E and only one G note. Using this logic, chords
aren't triads, because if you add extra notes onto a triad's existing three, you
can't call it a triad.
One more thing you'll notice during the chapter is how bright most major
chords are. It all goes back to major scales and the relationship between the
notes. We've made sure to describe the feeling each chord gives out so you'd
have a ready source to resort to whenever you can't find the chord you want.
Before we move onto chords, if you're wondering why we started chords by
explaining triads instead of giving you chord shapes to memorize, it's because
understanding what you're memorizing makes the memorizing process easier.
When you know how to build a triad, you'll be able to better remember
chords, explore the rarely used chords, and even make up your own.

The Seven Natural Major Chords

The following are the seven most essential major chords:
1. C Major
Sound: Bright, Happy.
Derived from the C major triad, it consists of: C, E and G. This is what the
chord looks like:

String Open 1st Fret 2nd Fret 3rd Fret

E 0
B 1
G 0
D 2
A 3
E X X X X

The numbers indicate finger placement: 1 (index), 2 (middle), 3 (ring), and 4

(pinky).
0: Open string
X: Don’t play/mute
There are a few observations to be made from this table, so let’s start with the
most obvious; the sixth string isn’t played. The reason for that is a chord’s
root note has to be the lowest note pitch-wise because it acts as the basis that
determines the key/sound of the chord. It intensifies the flavor, gives chords a
specific quality, and highlights their sound.
Following the notes on the sixth string, the only C happens to be at the
eighth fret which is too far away. Instead, we picked the next lowest C on
the third fret of the fifth string and skipped the sixth string altogether.
The next observation is regarding the notes played in this chord. There’s a C
on the fifth string, an E on the fourth string, a G on the third, another C on
the second, and another E on the first. In case you weren’t able to picture
how a chord is built from a triad, this pretty much explains it. Only the notes
in the C major triad have been used to construct the chord.
Exercise
Assuming you haven’t already, play the C chord. Rest your fretting fingers
comfortably on their specified places and firmly press on the strings. Then,
strum across the strings downwards and upwards; if you know any
strumming patterns, by all means, give them a try. Let go of the neck and
repeat the exercise to get your fingers used to the motions.
Try your best to actively listen to your chord. It is important that you
familiarize yourself with its sound and feel. It helps if you strum it once and
let it ring until it fades away completely. Also, when fretting make sure that
you stick to the finger positions specified. And, don’t shy away from
exploring; play your chord fast, play it super slow, with a pick, with your
thumb or with your nails. Just explore how what you do affects the chord
you’re playing.
2. D Major
Sound: Happy, bright
It’s made of D, F#, and A; the D major triad. For this chord, the lowest D
(root) happens to be on the open fourth string, which is the cause for this
shape:

String Open 1st Fret 2nd Fret 3rd Fret

 E 2
B 3
G 1
D 0
A X X X X
E X X X X

If we’re to look at the names of the pressed notes, we’ll find a D on the
fourth string, an A on the third, another D on the second, and an F# on the
first.

Exercise
First, strum this chord until you get used to the sound and the finger
positions. After getting used to the chord, try to alternate between it and the
C chord. The best method is by strumming a chord once before switching to
the other and repeat until you build up speed and accuracy.
It is also worth mentioning that the strings you don’t play also affect the
overall sound of your chord. In the case of D major, playing the fifth and
sixth strings won’t make your chord sound bad, but they will take away from
its distinct sound, and this also goes the same for C major and the sixth
string. It’s not good technique and, if done without purpose, it’s considered
sloppy. Try it and hear the difference for yourself. The unnecessary bass
notes should muddy pure bright D sound.
3. E Major
Sound: Solemn, dramatic, gritty and bright.
This is a personal favorite for many guitarists and it makes a lot of
appearances in rock, heavy metal, and blues because of its sound. Based on
the E major triad, this chord contains the notes E, G#, and B.
 String Open 1st Fret 2nd Fret 3rd Fret
E 0
B 0
G 1
D 3
A 2
E 0

Let’s look at the notes played here:

There’s the root, E, on the sixth string. Followed by a B on the fifth string,
another E on the fourth string, a G# on the third string. Then, there’s one
more B on the open second string, and a third E on the first string.
Exercise
Finally, a chord where you get to strum all strings! Go ahead and strum this
one violently like the rock star you were meant to be. Let the chord ring itself
into disappearance as you take it in. As much as you can, try to hear and feel
the difference between the E chord and the ones you’ve already learned.
After taking your time with this chord alone, try to practice it along with the
other chords. It’ll help you eliminate what is considered the hardest challenge
faced when first learning songs, getting your fingers used to transitioning
from one chord to another. You can know all chords individually, but it’s
important to know how to travel from chord to chord.
Finally, as food for thought, try to see how well the E goes with both, B and
D. Which ones work best together? How do they feel like?
4. F Major
Sound: Warm, friendly, bright
These sound characteristics are what make the F major such a popular chord
in country music. And, if you have an acoustic guitar, you’re in luck, because
no guitar compliments the F sound like an acoustic.
Here’s how the F major triad, F-A-C is used to make up the chord:

String Open 1st Fret 2nd Fret 3rd Fret

E 1
B 1
G 2
D 4
A 3
E 1

From the looks of it, it seems impossible, right? Well, it is definitely a

challenge to play at first, and even more when you’re going back and forth
between chords, but it isn’t as hard as it looks.
What you see in this table is your first “barre chord.” We’ll talk about them
in depth soon, but we had to mention the F major since this is its basic form.
On the sixth string, we have an F, then a C on the fifth string, an F on the
fourth, an A on the third, a C on the second, and an F on the first.
To play it, use your index to press on the first fret, then place your other
fingers according to the specified positions. It will take you a bit of practice,
but you’ll get the hang of it. It’s all about finger strength and knowing where
to apply pressure.
That being said, there is a simpler way to play an F chord, but it is does not
sound as good. It’s the frozen yogurt version of a basic F chord.
Instead of barring all the first fret, use your index to press on the first two
strings and when strumming, don’t play the sixth string. Originally, you’d use
only the tip of your finger to press on one string, but to press on two at once,
you’ll have to use the first part of your index (the part with the fingerprint).
Simplified F-Chord:

String Open 1st Fret 2nd Fret 3rd Fret

E 1
B 1
G 2
D 4
A 3
E X X X X

Exercise
Practice the basic F (the barre chord) as much as you can. At first, you might
not get all the notes, some might come out muted and, others, not at all. But,
blocking all six strings isn’t easy so try not to get frustrated. Just like with
working out, you’ll notice your improvement the next time you play. And, if
your fingers hurt, stop and rest for a bit or play something easier.
When you’ve got somewhat of a grip on the chord, switch to another chord
you’re familiar with, preferably the one you can play best. That way, it will
be easier to focus only on your movement from and to the F chord.
As you’re playing, listen well to the sound of your chord. In time, you’ll
notice a slight refinement in the sound, the more you get the hang of the barre
technique.
Tip: While you should put most of your effort into learning the original F
chord, it’s important to know and understand the difference between it and
the simplified F chord. So take a couple of minutes to compare both before
you move on.
5. G Major
Sound: Triumphant, bright.
The G is another musician favorite that plays a major part - forgive the pun -
in all genres. It is such a versatile chord that induces a rising feeling in a
melody which intensifies the melody, emotionally speaking.
From the triad G-B-D, we get:

String Open 1st Fret 2nd Fret 3rd Fret

E 4
B 0
G 0
D 0
A 1
E 2

Yes, we know it looks uncomfortable to play, but it’s just a matter of getting
used to. After all, it’s only the third hardest major chord after the B and the F.
The finger positions in the table here may be confusing because, why use the
fourth finger instead of the third finger to hit that last G? Simply, because it
frees up your third finger for an optional note.
In the table, the notes pressed are: B on the sixth, B on the fifth, D on the
fourth, G on the third, B on the second, and G on the first.
That arrangement makes a fine G chord, but you can use the third finger for a
variation that feels fuller or denser. And, because both are interchangeable,
feel free to pick either as your go-to G.
To play the variation, put your pinky on the third fret of the second string
right above your fourth finger. This changes the second string’s B to a D
which triggers the change in sound.
Exercise
Play the chord and its variation and try to listen closely for the difference
between them. After that, pick any of the chords you’ve learned and
transition back and forth between them and the G. For great results, try
playing G, C, and D. It’s one of the most popular chord progressions.
6. A Major
Sound: Optimistic, cheerful and bright.
Derived from a “happy” scale, no wonder the chord has this feel to it. Not to
mention, when put right between an E and a B you can really feel its bluesy
texture.
That is what it looks like:

String Open 1st Fret 2nd Fret 3rd Fret

E 0
B 3
G 2
D 1
A 0
E X X X X

Try to extract the triad before you read the next paragraph. Remember, you
need the root, the third, and the fifth notes of the A major scale.
The chord, as shown in the table, starts with an A on the open fifth string, an
E on the fourth string, an A on the third, a C# on the second, and an E on
the open first.
As for the finger positions, the easiest is the 1, 2, and 3 order you can see on
the table, but if you’re planning on transitioning to a B major, it’s easier if
you use fingers 2, 3, and 4.
Exercise
After playing the chord enough, actively listening to it, familiarizing yourself
with its sound and feel, and basically doing the same thing you’ve done with
the other chords, it’s time to develop your own preferences. Try both finger
placements to see the one you feel more inclined to go by.
7. B Major
Sound: Angry or blue
Most people agree that the B major is the least bright-sounding chord among
all natural majors, but despite that, the B major still sounds brighter than
minor chords.
The triad here is: B-D#-F#

String 2nd Fret 3rd Fret 4th Fret

E 1
B 4
G 3
D 2
A 1
E X X X

This is the only major chord that starts from the second fret, and like the F
chord, to play it, you need to barre the second string with your index.
However, there are no easier alternatives with a B chord.
Seeing as it is our last major chord, you should be able to name the notes
yourself. Start from the sixth string downwards and remember that each fret
represents a half-step. For cheating purposes, we’ve placed the answer below
the chord’s exercise.
Exercise
You know the drill by now: play, listen, use chord in a chord progression.
The extra detail is to make sure you use the B along with the A chord to
experience how using fingers 2, 3, and 4 to play an A will help you transition
to and from a B.

Accidental Major Chords

How about sharps and flats, these are notes too, aren’t they? They have their
own scales which means they have their chords and there’s nothing anyone
can do about it. The same way sharp and flat notes differ from the natural
notes by being one half-step higher (sharp) or lower (flat) than the natural, so
do chords. Consequently, sharp chords sound brighter than the natural chords
while flat chords sound duller.
To play accidental chords, what you need to do is move the entire chord a
half-step in the direction you want. If it’s a sharp, move the chord one fret
towards the body of the guitar, and if it’s a flat, move the chord a fret towards
the head. You’ll understand more when you see the chords. However, fair
warning, these are harder to play than natural major chords so, make sure you
get the hang of the naturals first.
There are five accidental chords: one between every two notes except for the
B & C and the E & F.
Reminder: one note’s sharp is another note’s flat, depending on how you look
at it.
C# Major / Db Major
This chord is built from the C# triad containing the notes: C#-F-G#.
Note the half-step increase throughout the three notes. Here is what it looks
like on a guitar:

String 1st Fret 2nd Fret 3rd Fret 4th Fret

E 1
B 2
G 1
D 3
A 4
 E X X X X

The C shape didn’t change, but it moved one fret forward. The open strings
became first fret notes, the first fret note moved unto the second fret, the
second fret note moved unto the third, and the third moved unto the fourth,
calling the pinky into action and making everything significantly harder.
D# Major / Eb Major
The triad here is: D#-G-A

String 3rd Fret 4th Fret 5th Fret 6th Fret

E 1
B 2
G 1
D 3
A 4
E X X X X

For those fans of the simple D shape, we apologize for what you’re seeing at
the moment, but there’s an excuse here. The notes at the first three strings
moved one fret forward, simple enough? The fifth and sixth frets are where it
gets complicated.
The reason for their existence is that to move the fourth string D one half-
step, we’d have to stop at the first fret, which is extremely inconvenient. It
made more sense to switch that D to a G by moving it to the fifth fret. But,
because that resulted in G being the lowest pitched note in the chord, one
more D#/Eb had to be added to maintain the sound of a D# chord. And that’s
why there’s one note on the sixth fret of the fifth string.
Tip: An easier way to understand the chord is by thinking of it as one whole
step from a C# chord.
F# Major / Gb Major
Beginning at F#, the third note is A# and the fifth is C#.
It’s one of the most used accidental chords and is quite fun to play once you
get the hang of it.

String 2nd Fret 3rd Fret 4th Fret

E 1
B 1
G 2
D 4
A 3
E 1

It is nothing more than the original F chord moved one fret forward.

G# Major / Ab Major
Despite its triad G#-C-D# looking simple and somewhat familiar, the chord
is one hell of a finger-stretcher.

String 1st Fret 2nd Fret 3rd Fret 4th Fret

E 4
B 1
G 1
D 1
A 2
E 3
The right thing to say here would be, don’t worry, there’s nothing you can’t
do without a little bit of practice. Yet, in a much more real sense, there’s a
significantly easier way to play it, but we’re saving it for our chapter about
barre chords.
Concept-wise, though, the chord isn’t as complicated as the D#. The regular
G shape moved one fret forward, and the three open notes in the natural G
became first fret notes.
A# Major / Bb Major
Based on the triad A#-D-F, the A#, more commonly known as the Bb chord,
also happens to be one of the easiest accidental chords to play and
understand, too.

String 1st Fret 2nd Fret 3rd Fret

E 1
B 4
G 3
D 2
A 1
E

It should look familiar because that's the same structure of a B chord but
positioned a fret behind. If you're still confused about how to flatten or
sharpen a chord, this chord is the best way to explain it because it has an
obvious position between the chords A and B.
If you look at it as an A sharp, you'll see that the familiar A shape moved to
the third fret and the open strings became first fret notes.
As a B flat, it's positioned a fret behind a regular B chord.
This concludes our five accidental major chords. By now, you should know
all the major chords, the seven naturals, and the five accidentals, that together
make up all the notes within an octave. Yet, before we can put major chords
behind us and focus on the minor ones, we'll briefly go over one last type of
major chords, the Major Seventh.

The Major Seventh

There is nothing new about this chord except for the fact that it has an
additional note, the seventh. All major chords are made of a major scale's root
note, the third and the fifth. A major seventh, or a maj7, is built by adding the
seventh on top of the root, third and fifth.
For example:
The C major chord has the notes C, E and G, but a Cmaj7 has the notes C, E,
G, and B.
Unfortunately, the basic concept of the major seventh chord will have to do
for now since most positions for these chords are either too advanced or not
essential enough to visit in-depth or too simple that you can learn them on the
go while learning a song.
Note: Don't confuse the major seventh chord (ex. Cmaj7) with the dominant
seventh chord (ex. C7 or Cdom7). While the major seventh contains a natural
seventh note, which makes it sound more melancholic, a dominant seventh
contains a flattened seventh, which makes the chord sound more mysterious.
Songs Using Major Chords
As promised, you now have the chord knowledge to play and master all the
songs on this list we've prepared for you. So, venture on ahead:
Sweet Home Alabama - Lynyrd Skynyrd

Chords: D - C - G (and the occasional F)

Sample:
DCG
Sweet home Alabama,
DCG
Where the skies are so blue,
To get the timing and the strumming pattern right, look up the song's chords
or tabs (sheet music with finger positions instead of notes) and listen to it to
get the full picture of what you should be doing.
This song is simple enough to help you master chord transitions, but also
provides the right level of challenge when it comes to strumming patterns and
tempo.
Three Little Birds - Bob Marley

Chords: A - D - E
Sample:
A
Don't worry, about a thing
DA
Cause' every little thing, gonna be alright
Who wouldn't like to play reggae? Three Little Birds is a great song to play
wherever and whenever, and you don't have to be a beginner to like it. Sure,
it's simple, but that doesn't make it any less fun. Plus, anytime you play it in a
crowd, you're guaranteed a sing-along (provided you read the room first).
The song has a leisurely tempo, and a simple strumming pattern, but the
challenge is to co-ordinate between both and bring out the island-y feel. It
should definitely be a fun experience.
I Wanna Be There - Blessed Union of Souls

Chords: G - C - D
Sample:
G
I wanna be there when you're feeling high
C
 I wanna be there when you wanna die
D
I'm gonna light your fire I'm gonna feel your flame
This song has a catchy chorus, and a massive country feels, besides it works
perfectly at weddings or any love-related occasions. From the sample, it
might seem a bit boring/too simple, but it's all about the strumming pattern
here. The only way to unlock the full potential of this song is by getting the
hang of the strumming pattern.
Take your time, listen to those songs, and if you don't want to learn the three,
pick one and put your back into it. Most importantly, be patient with yourself
and remember to have fun with it. At the end of the day, you're making
music, and, if you're not chilling out and having fun, then what is the point?
 Chapter 4

Minor Chords

Although they're called minor, they're not any less than major chords. They're
just as essential to a melody and even more diverse emotion-wise. However,
unlike major chords, there are common minor chords and less common ones.
In other words, there are chords like Em and Am that you'll find in most
songs. Then, there are others like Cm and Gm that you just won't find as
often. But, at the end of the day, chord choices tend to change based on the
artist; each one has a set of go-to chords.
By the end of this chapter, you should be familiar with all minor chords and
capable of playing more complex songs that have a combination of major and
minor chords. So, grab your guitar and get ready to delve into the world of
minor chords.

What are Minor Chords?

To refresh your memory, minor chords come from minor triads. Just like
major chords, they're built by taking root, third, and fifth of a minor scale.
Emotion-wise, they induce a whole range of feelings different from major
chords, which increases their value for two reasons. First, emotional diversity
is the determining factor of any good song. If a song can't make people feel
something, then it's pretty much just a group of sounds that go well together.
Second, minor chords provide a contrast to major chords, which emphasizes
both types of chords. This results in more dimensional melodies rather than
flat-sounding ones.
Now, when explaining minor scales, the topic of relative scales comes up.
We explained that each major scale has a minor scale relative and vice versa,
so does this still apply to chords? Absolutely. The relationship between scales
echoes throughout all their derivatives. Nevertheless, the concept of relativity
in music only relates to the theoretical aspect of chords and not at all their
sound.
You can switch an entire song from major to minor, only using relative
chords. The chords will work together perfectly, and the song will sound
quite similar to the original major version, but it will give off an entirely
different feel. We'll explore this more as we talk about the differences
between major and minor chords.

The Seven Natural Minor Chords

C Minor
Relative chord/scale: D#/Eb Major
Sound: Angry, threatening and powerful
This colorful sound palette is behind one of Beethoven's most famous pieces,
Symphony No. 5, also known as "the one that starts with dun-dun-dun-dun."
If you listen to the symphony, you'll see those characteristics of the C minor
scale, and therefore, chord.
It's built from the C minor triad: C, Eb, and G.

String 3rd Fret 4th Fret 5th Fret

E 1
B 2
G 4
D 3
A 1
E X X X

This is the original, and better sounding, version of the chord. Despite being
hard to play, it is worth the practice. Let’s see how the notes are arranged:
The sixth string is muted since the closest C note lies on the eighth fret.
Instead, we play the root C note on the third fret of the fifth string.
Following that, there’s the G on the fifth fret of the fourth string and right
under it, there’s another C on the third string. On the second string, there’s
an Eb and, on the first string, another G.
Now, there’s an alternative way to play the chord, but it doesn’t sound as
great, it’s the fat-free option.

String Open 1st Fret 2nd Fret 3rd Fret

E X X X X
B 1
G 0
D 2
A 4
E X X X X

By only playing the middle strings, you’re playing C, Eb, G, and C. It has a
very similar sound, but not quite identical because it’s played in open
positions instead of the third fret, and because the first string was muted.

An even simpler, less great version is by removing your pinky and only
playing the second, third, and fourth strings. Because it’s the same triad, it
will sound very similar, but because the lowest note changes from C to Eb
the entire feel of the key changes.
Exercise
This one isn’t about getting the hang of the barre chord, we’ll have a whole
chapter dedicated to this topic. This one is more of a listening exercise.
Play each version of the chord once, letting each one play itself out as you
soak in the sound. Try to feel the difference between each of their sounds and
how the difference in positions and notes affects the chord.
D Minor
Relative chord/scale: F Major
Sound: Melancholic, dynamic (provides a sense of something impending)
It’s popular among classical composers. Most commonly, it is one of the keys
in which Beethoven composed his Ninth Symphony: Ode to Joy, and the key
adequately used in Requiem, Mozart’s last piece, which he died before
finishing.
The triad for this chord is D-F-A and this is what it looks like:

String Open 1st Fret 2nd Fret 3rd Fret

E 1
B 3
G 2
D 0
A X X X X
E X X X X

From the looks of it, it’s one of the easiest chords to play, just like the D
major. In fact, the only difference is in the notes on the first string. Just like
the D major, we play a D on the open fourth string, an A on the second fret
of the third string, a D on the third fret of the second string, but an F on
the first fret of the first string. Whereas, in a D major, we’d go a half-step
higher and play an F# on the second fret of the first string.
Exercise
Play the chord until you’re familiar with its sound. Once you get used to it,
switch to a D major and see the extent of the difference this one note -just
one half-step away- makes.
When you’re finished with the listening part, try alternating between the two
chords until you get the hang of the transition between a major and a minor.
Tip: Keep your third finger put and stick to moving your first and second
fingers only.
E Minor
Relative Chord/scale: G Major
Sound: Mournful, solemn and painful
This is the most popular minor chord out there, and it also happens to be the
easiest to play. Because of its range of emotions, it makes a lot of
appearances in heavy metal. Metallica’s ‘Master of Puppets’ is composed in
the relative G major scale. The first chord in the entire song is an angry Em
played by strumming only half the chord - the fourth, fifth, and sixth strings.
This chord is somewhat considered to be double-faced. It doesn’t reflect a
purely hopeless type of sadness. It’s like someone who acknowledges a bad
situation but tries to see the best in it. This shows through the contrast
between the bass and treble strings.
Try to guess the triad from the chord shape:

String Open 1st Fret 2nd Fret 3rd Fret

E 0
B 0
G 0
D 3
A 2
E 0

The root note here is the E on the sixth string, followed by a B on the fifth
string, an E on the fourth string, a G on the third, a B on the second, and
an E on the first. So, if your guess for the triad was E-G-B, congratulations.
Playing the chord is no challenge, whether you use your second and third
fingers, or your first and second, or even your third and fourth. Yet, it makes
more sense to use your second and third because it allows you to easily
transition to E major, C major, and, as you’ll later see, A minor among
other chords.
Exercise
Play the chord until it sounds quite familiar. Experiment with the different
finger positions and with the difference between it and the E major. After
you’ve gotten used to the chord’s sound, try separately strumming the upper
three strings - fourth, fifth, and sixth - then the lower three. The difference in
feel should be obvious.
Don’t forget to try the chord within a couple of chord progressions to see its
effect on a melody. One progression worth trying is with the chords Em, C,
G, and D, in this order.
F Minor
Relative: G#/Ab Major
Sound: Sad, hopeless
This chord is not as sad as other minor chords, but it’s only because the
sadness is covered by a layer of anger. The hopelessness of the chord,
however, shows clearly in songs like Adele’s ‘Hello.’
Its triad is: F-G#-C

String 1st Fret 2nd Fret 3rd Fret

E 1
B 1
G 1
D 4
A 3
E 1
It looks just like an F major, but without the A on the second fret of the
third string. The chord starts with an F on the first fret of the sixth string,
then a C on the third fret of the fifth string, another F right below on the
fourth string, a G# on the third string, a C on the second, and finally,
another F on the first string.
Exercise
As with the previous chords, play this out until the sound isn’t foreign to you
anymore. Alternate between the F major and minor to get a sense of the
difference.
If you try it along with an E or an Em, you’ll see how easy the transition is if
you use your third and fourth fingers to play the Em shape.
G Minor
Relative chord/scale: A#/Bb Major
Sound: Disappointment or weariness
While it can give off many emotions, depending on which chords it is paired
with, the G minor chord mainly reeks of disappointment and feelings of
defeat and weariness. It explains why the scale itself has been used in Adele’s
‘I Miss You,’ Sam Smith’s ‘Like I Can,’ and Deep Purple’s ‘Smoke on the
Water.’
Fun Fact: Despite the catchy riffs and the song being too “rock and roll” to
be taken seriously, it is actually about the casino where Deep Purple were
supposed to record went up in flames. How about that for disappointment?
On that note, here’s the G minor triad and chord shape: G-Bb-D

String 3rd Fret 4th Fret 5th Fret

E 1
B 1
G 1
D 4
 A 3
E 1

Doesn’t it look quite familiar? That is because it is the same exact shape as an
F minor, but higher up on the third fret instead of the first.
It starts with a G on the sixth string as the root, then a D on the fifth, a G on
the fourth, a Bb on the third, a D on the second, and a last G on the first
string.
Exercise
Strum the chord and get multiple earfuls of how it sounds, and remember to
strum it upwards and downwards, because there’s a slight difference. Don’t
worry if you can’t hit all the notes, this type of chord isn’t at all easy without
a bit of practice, so don’t be discouraged early on.
If you manage to play it, though, try and mix it up with an Em, an E major,
an F major, and an Fm. Playing them in this order will help you notice how
certain chords are easier to shift to than others, and how to plan ahead by
choosing flexible finger positions.
A Minor
Relative chord/scale: C Major
Sound: Rich sadness, melancholy
Like the Em, the Am is also one of the most commonly used chords among
all musicians. Not only is it easy to play, but it also provides a sound and an
emotion that can fit within any context. A number of sad songs have been
composed in this key, like Nirvana’s ‘Heart-Shaped Box.’
The A minor triad: A-C-E

String Open 1st Fret 2nd Fret 3rd Fret

E 0
B 1
 G 3
D 2
A 0
E X X X X

It is quite an easy chord to play, which is nice for a change, given that the
majority of minor chords are pretty challenging to play.
As shown, the sixth string has been muted, since there isn’t an A note close
by. In its place, the root A is played on the open fifth string. On the fourth
string, we have an E, then an A on the third, followed by a C on the second
string, and an E on the open first string.
Exercise
In addition to taking your time getting to know the chord, try playing it
among several chord progressions because you’ll need to know how to reach
it from any place on your fretboard.
Among the chords that go along with it: Em, Dm, C, D, F, and G.
B Minor
Relative chord/scale: D Major
Sound: Weariness, submission, isolation, confusion
The B minor is one of the saddest, most depressing chords yet, it is also one
of the most beautiful. It feels like a heavy breath coming out of the saddest
person on earth. Among the songs composed in a B minor key, there’s the
heart wrenching ‘When a Blind Man Cries’ by Deep Purple, ‘Save Our Last
Goodbye’ by Disturbed, and as mentioned before, The Eagles’ ‘Hotel
California.’
Triad: B-D-F#

String 2nd Fret 3rd Fret 4th Fret

E 1
 B 2
G 4
D 3
A 1
E X X X

Because the closest sixth string B note is on the seventh fret, this chord starts
from the B on the fifth string. What comes after is an F# on the fourth
string, a B on the third string, a D on the second, and an F# on the second
fret of the first string.
As for its shape, if you recall what a Cm looks like, you’ve probably made
the connection already. The distance between the two notes B and C is one
semitone or one half-step. It only makes sense for the Bm chord to start
from a fret below the Cm.
Now, if you have tried to relate Am to the Bm and Cm, you’re already one
step ahead. The distance between A and B is a whole step which is two frets.
If we take the Bm chord two frets back, you’ll end up removing your first
finger, but keeping the exact Am shape.
And it is with stuff like that where the knowledge of music theory kicks in.
From now on, whenever you forget any complex chord, you can always
know its position just by remembering another simpler chord, and when
you’re doubtful, you can use your knowledge of triads to double-check.
Exercise
Only when you’ve familiarized yourself completely with the B minor sound
and finger positions, try shifting between Am, Bm, and Cm. Then try the Bm
among other different chords.
Also, since we’ve already connected the Am, Bm, and Cm using music
theory, can you try applying the same concept to the major chords E, F, and
G?
Hint: The G shape you’ll find is one we haven’t yet covered.
That puts an end to our group of natural minor chords. Remember that while
it is important to learn how to play chords, you shouldn’t let that distract your
focus from listening to the chords you’re playing.

Accidental Minor Chords

In the same way there are five accidental major chords, there are also five
accidental minors that lie between every two natural ones. Needless to say,
this doesn’t apply to the B & C and E & F. Without further ado, here is the
last you’ll hear about new minor chords…for now at least.
C# Minor / Db Minor
Relative chord/scale: E Major
While the C minor sounds angry and a bit hostile, being a fret higher, the C#
minor sounds less hostile with echoes of regret. Surprisingly enough, if you
add a choppy strumming pattern (we’ll explain that in due time), its texture
and tone make it a perfect chord for songs with an island-y feel to them.
The C#m triad: C#-E-G#

String 4th Fret 5th Fret 6th Fret

E 1
B 2
G 4
D 3
A 1
E X X X
As you can see, this chord lies one half-step/one fret after Cm. It starts with
a C# on the fifth string, then a G# on the fourth string, another C# on the
third string, an E on the second string, and finally ends with a G# on the
first string.
D# Minor / Eb Minor
Relative chord/scale: F# Major
Let’s take a look at the notes of the D#m scale: D#, E#, F#, G#, A#, B, and
C#.
So many accidentals, right? That’s why this chord generally sounds off. If
you’re playing a smooth piece, this chord won’t be of much help but, if
you’re planning on playing a genre that relies mostly on improvisation, i.e.
jazz or blues, the D#m chord, and scale, will definitely be of use. If you’re
interested in knowing why, it’s because improvisation depends on keeping a
melody unresolved so you can go as far as possible.
If we take the scale’s third (F#) and fifth (A#) to form the minor triad, this is
what the chord will look like on the fretboard:

String 6th Fret 7th Fret 8th Fret

E 1
B 2
G 4
D 3
A 1
E X X X

The root of this chord is the D# on the fifth string. After that there is an A#
on the fourth string, then a D# below that on the third string. On the
second string, there is an F#, and, lastly, an A# on the first string.
Do you see the relationship between the position of the D#m and the C#m on
the fretboard? It is all about the distance between notes.
F# Minor / Gb Minor
Relative chord/scale: A Major
This chord is one of the better sounding accidental minors. Don’t get it
wrong, it is quite sad. If “broken” had a sound it would be an F-sharp minor.
It just sounds smooth and full. Not to mention, it is easy to play and to locate
since the notes needed are based on the triad: F#-A-C#, which can easily be
found around the second fret.

String 2nd Fret 3rd Fret 4th Fret

E 1
B 1
G 1
D 4
A 3
E 1

It is exactly like an F minor, but one fret higher starting from the F# on the
sixth string until the F# on the first string. Even the middle notes are in the
same order, with respect to the accidentals, of course. There is a C# on the
third fret of the fifth string, another F# below that on the fourth string, an
A on the third string, and a C# on the second.

G# Minor / Ab Minor
Relative chord/scale: B Major
This chord is quite haunting when you really listen to it. Imagine the
disappointment from a G minor, but higher in pitch. But, why imagine when
you can straight up play it?

String 4rd Fret 5th Fret 6th Fret

E 1
B 1
 G 1
D 4
A 3
E 1

The chord begins with a G# on the fourth fret of the sixth string. Then, a
D# on the fifth string, and a G# on the fourth string, a B on the third
string, a D# on the second, and a G# on the first.
Drawing from that, we can come up with the triad G#, B, and D#. And as you
see, the chord looks precisely like G minor except that it is located a fret
higher, which means you can use a G minor to help you remember a G#
minor whenever you’re lost.
A# Minor / Bb Minor
Relative chord/scale: C# Major
Despite being a minor chord, this one actually sounds tender, and a lot more
optimistic than most. When looking it up, however, you’re most likely to find
it under the name Bb instead of A# because in Bb the scale is easier to write,
since there are fewer accidentals. Here’s what we mean:
When called a B-flat, the scale looks like this: B ♭ , C, D, E ♭ , F, G, and
A.
When called an A-sharp, the scale looks like that: A♯, B♯, C♯, D♯, E♯, F♯,
and G♯.
Going with the naming B-flat, we’ll get the triad Bb-D-F, and the following
shape:

String 1st Fret 2nd Fret 3rd Fret

E 1
B 4
 G 3
D 2
A 1
E X X X

It starts from the Bb on the fifth string, then an F on the fourth, then a Bb
on the third, a D on the second, and, finally, an F on the first string.
Do you remember what A major and B major looked like? The A was
played by pressing on the second fret of the strings D, G, and B. And the B
was played using this same shape, yet on fret higher. Can you see how the Bb
lies right between the two chords?

The Minor Seventh Chord

Just like the major seventh, the minor seventh is made using the root, third,
fifth, and seventh notes, but of a minor scale. However, some minor seventh
chords are significantly more popular than their major counterparts, which
means you’ll face them early on so they’re worth mentioning. They won’t
take long as we’ll cover only two chords.
Dm7
The first chord is the Dm7 made by adding a C to the triad D, F, and A.

String open 1st Fret 2nd Fret 3rd Fret

E 1
B 1
G 2
D 0
A X X X X
E X X X X
You can play it by blocking the first fret of the first and second strings, using
your second finger to press on the second fret of the third string, and
strumming only the first four strings.
When compared to the regular Dm, you’ll find the note arrangement in the
Dm7: D (fourth string), A, C, F (first string). In the Dm, the note
arrangement is D, A, D, F.
Am7
By adding a G to the A minor triad A-C-E, you’ll end up with this shape:

String Open 1st Fret 2nd Fret 3rd Fret

E 0
B 1
G 0
D 2
A 0
E X X X X

As you see, it's similar to the Am shape except for the third string, which is
left open to play a G instead of being fretted at the second fret to hit an A.

The Difference Between Major and Minor Chords

You already know and must have noticed some differences throughout the
chapters. Majors are always happier and brighter than minor chords and
scales. It's because the third of a minor chord is always flatter than its major.
For example, a B minor chord contains the notes B, D, and F#. But, a B
major contains the notes B, D#, and F#. Meaning, if you flatten the third on
any triad, you'll end up with a minor chord.
And speaking of thirds, to locate a relative major chord, that's all that you
have to pay attention to. A major chord is always three semitones higher than
its relative minor. If you look through any of the minor chords we mentioned
in this chapter, you'll find that the third note of every triad is also the root of
the relative major.
Sound-wise, this makes major chords happier, brighter, and fuller. It also
makes minor chords sadder, calmer, and heavier. This shows the most when
playing the same song in a major key and its relative minor key. You'll find
that each set of chords go well together and that the song sounds quite
familiar, except for the fact that it feels off at first. The more you focus, the
more you'll find that the song generally sounds either sadder, more
aggressive, or just has an upsetting vibe.
Exercise
Remember the first song on our major chord song list, 'Sweet Home
Alabama?' If you've already tried playing it, you know how much it sounds
and feels like a sunny day. Just by changing each major chord into its minor
relative, you can make this song sound as if it's a lament for a place that died
long ago. Here's how:
Original Major Chords: D - C - G
Relative Minor Chords: Bm - Am - Em
Sample:
Bm Am Em
Sweet home Alabama,
Bm Am Em
Where the skies are so blue,
Look up the rest of the chords for the original song and mentally replace the
major chords with the minors, then try playing it and see what happens.
If you haven't gotten the hang of it yet and would rather just get a little taste
of the difference, there's something simpler you can do, but it is ultimately
less rewarding.
Alternate between playing Am and C major a couple of times until you get a
general feel of the difference.

Songs Using Minor Chords

Now that you know both types of chords, there's no need to restrict ourselves
to songs containing only minor chords. We can now apply the knowledge of
both to play any random combination of chords.
House of the Rising Sun - The Animals

Chords: Am - C - D - F - E

Sample:
Am C D F
There is a house in New Orleans
Am C E
They call the "Rising Sun."
It tells the cautionary tale of a brothel that has caused the ruin of many lives.
Accounts differ when it comes to who actually wrote the song, but everyone
agrees that the most popular version is the one by The Animals.
When you listen to the song, you'll see that it is finger picked, as in, the
chords aren't strummed, but instead, each note is played individually. If you
can do that, great, if you can't, that's okay for now, just stick to strumming the
chords, it will still sound great. With this song, we're focusing more on chord
progressions, transitions, and playing whole songs rather than learning how
to fingerpick, so it all works out anyway.
What's Up - 4 Non-Blondes

Chords: G - Am - C
Sample:
 G
Twenty-five years and my life is still
Am
Trying to get up that great big hill
CG
Of hope for a destination.
This song is more famous by its chorus, "And I say, hey yeah yeah yeah, hey
yeah yeah yeah. I said, hey, what's going on?" than by the other lyrics, so
don't be surprised if you feel like you've heard the song before.
Make sure you listen to the song first and look up the chords before you start
because this particular song needs a certain strumming pattern to make it
work. When you look at the lyrics, you'll find them pretty sad and quite
pessimistic, but when you look at the chords and the strumming pattern you'll
find G and C, two of the happiest, most optimistic chords, as well as, a joyful
strumming pattern that provide a contrast for the dark lyrics.
Let It Be - The Beatles

Chords: C - G - Am - F
Sample:
C G Am F
When I find myself in times of trouble, Mother Mary comes to me
CGFC
Speaking words of wisdom, let it be.
There's no feeling better than the one you get when you finally manage to
play a classic, and a Beatles classic is no small thing. But, keep in mind that
this is a simplified version. The original version has more C and F variations
to add a bit of flavor, which you can also find online. Remember, this song is
a slow, emotional one, so don't try rushing it. Try to feel it and see what
difference that makes.
On this note, it is fitting to put an end to our talk about minor chords and
proceed onwards. Before you leave this chapter, make sure you know the
basic minor chords, Am, Em, Dm, and Fm. The rest will find their way into
your mind as you learn more songs and practice more.
 Chapter 5

Barre Chords

Pxhere
First things first, the name comes from the way these chords are played by
barring or blocking either five or six strings with your finger or with a capo (a
device that clips onto the guitar neck). This "barre" that you form with your
finger essentially acts as a moveable "nut," the name we call the metal strip
right before the first fret. In other words, it's like temporarily changing your
open string to a fretted one so you can play the chord you want on a different
area of the neck.
This ability to repeat chords in different areas of the neck is the coolest thing
about barre chords, and it is what makes them such a handy tool in any
guitarist's toolbox. Imagine yourself in the middle of a practice session; out of
nowhere, your cat/dog comes and sits right on your lap, and under your
guitar. You stop playing for a bit, hoping they'd find it uncomfortable and
leave, but they don't; instead, you hear snoring. Now, as any good caretaker,
you can't continue playing with the same intensity, moving up and down the
neck, so what do you do? If you didn't know barre chords, quitting would be
your only option. If you did, though, then you can just look at your fretboard
and pick a closer place to play the chord you want. Especially because all the
chords, and scales, repeat themselves across the neck.
Other than helping you access the chords you need from wherever you want,
their sound has a range of qualities that varies from rough and rugged to chill
and mellow. In general, they all share one quality, which can be best
described by comparing them to a rough gunslinger speaking only when he
has to. In comparison, open chords sound like little kids running all around
the place, always shouting too loudly. Anyway, these qualities make them the
go-to for many genres, including grunge, metal, punk, reggae, and even
country.
All in all, barre chords are essential if you want to improve your technique,
sound, and general skills as a guitarist. Plus, they are extremely versatile,
especially since there's so much you can do with them, from playing power
chords to using them in an arpeggio finger-style.

How to Easily Play Barre Chords

Along the way here, you've stumbled upon some already, like F major and
minor, B major and minor, and G minor. If you had your time practicing, you
probably have an idea of what they sound like and how frustrating they are to
play. That is why we'll start with a few tips to help you build finger strength
and make your notes sound cleaner.
There are several techniques that can help you, but nothing replaces
knowledge. Barring strings isn't necessarily just about channeling all your
strength to push the strings through the fret, it's about knowing how to
distribute the pressure from your finger to the strings that need pressing. See,
some strings are easier to press, while others aren't. Plus, it differs from
person to person and one guitar to another, depending on the size of the
hands, fingers, and guitar necks. Before saying any more, if you have an
acoustic guitar, don't compare your barre chord progress with that of those
with electric guitars, they have it easy. In fact, don't compare yourself at all; it
doesn't help the learning process.
As a general rule, what you want to do when practicing is to start from the
topmost string you need to press, then apply pressure gradually and lower
your finger until you're pressing all of your strings. After that, add the rest of
your fingers to form the chord you want and separately pick the notes of the
chord. The reason you should pick instead of strum is so you can listen for
any string buzz coming from an improperly pressed note. After doing so,
make a mental note of which strings you weren't pushing properly so that you
can increase pressure the next time around. Repeat that until you get the hang
of it.
Tip: You may need to shift the pressure in your finger while playing the
chord.
When it comes to finger positions, the better position you have, the easier it
will be to press all the notes to your chord. Mainly, we're talking about the
thumb and index placement. When barring, make sure your thumb is pointed
straight up, and use it to pinch the guitar neck or press it against your index
(barring) finger. As for your index, you'll find it better if you tilt it a little
sideways instead of only using your inner skin so as to use the bone for
support.
Tip: Be mindful of your finger placement because when the going gets rough,
people tend to abandon the "hard" placement techniques and use ones that
seem easier, but really aren't. Granted, using your ring finger instead of your
pinky when fretting notes seems easier, but it also means you'll be using three
fingers instead of four, which is slower and less convenient.
And speaking of positions, also make sure your wrist is kept straight because
having your wrist severely bent all the time is bad for your joints, will tire
you out easily, and limits the range of notes you can press.
Finally, finger strength. This will take time, there's no gentler way to put it,
but the more you use your fingers, the stronger they'll become. In other
words, keep playing barre chords, and progress is bound to come as long as
you're mindful and focusing on your techniques.
Exercise
To help build up finger strength quicker, here's a simple thing you can do.
Take your guitar by the neck and hold it from the ninth fret, only using your
index and thumb. After a bit, let go ever so slightly and press again at the
seventh fret. Then repeat the same thing for the fifth fret. If you'd rather not
risk your guitar's life, don't let go. Just pick a fret and hold it by that fret for
as long as you can.
Needless to say, it would be better if you hold your guitar over something
soft as an extra cautionary measure, but it truly isn't that risky or hard of an
exercise.

Barre Chord Shapes

The thing about barre chords is that they're not only repetitive when it comes
to the sounds, but they're also repetitive when it comes to finger positions.
Unlike open chords that have varying positions, once you get the hang of the
four most common barre chord shapes, you're set. With the exception of a
few chords, all the others fall under one of those four shapes.
The A Minor Shape
As the name suggests, to play this barre chord, you need to put your three
lower fingers into an A minor shape and use your index finger to block the
first fret of the chord.
This is the basic shape:

String Fret 1 Fret 2 Fret 3

E 1
B 2
G 4
D 3
A 1
E X X X

Note that these frets are dependent on the chord and not the fretboard itself.
In other words, these are fret 1, 2, and 3 of a barre chord, and not the first,
second, and third frets of the fretboard.
If you recall, this Am shape is the same as the one used for Bm, Cm, and Dm,
and that is because of the distance between the notes. If we follow this
concept throughout the fretboard, we can locate several barre chords without
having to memorize them.
The Am shape starts with Am and no bars. When taken one whole step or
two frets forward to the second fret, we get a Bm:

String 2nd Fret 3rd Fret 4th Fret

E 1
B 2
G 4
D 3
A 1
E X X X

If we move the B minor one fret so that the root note on the fifth string
becomes a C, you’ll find yourself with a Cm:

String 3rd Fret 4th Fret 5th Fret

E 1
B 2
G 4
D 3
A 1
E X X X
Two more frets from the C means we’ll reach the D note on the fifth fret of
the fifth string and, using the same shape, you’ll find the barre chord version
of the Dm:

String 5th Fret 6th Fret 7th Fret

 E 1
B 2
G 4
D 3
A 1
E X X X

If we then move from the D to the E two frets after, you’ll find a barre Em
that starts on the seventh fret:

String 7th Fret 8th Fret 9th Fret

E 1
B 2
G 4
D 3
A 1
E X X X
This Em when compared to the open position Em, you’ll notice a big
difference in pitch. That is because as we move farther down the neck, the
notes get higher until they reach a higher octave. This means that you can
replace any chord with its barre version, but it will have an effect on your
song. What determines if it’s a bad effect or a good one, is the song itself.
One fret away from the Em, you’ll find an Fm starting from the eighth fret:

String 8th Fret 9th Fret 10th Fret

E 1
B 2
 G 4
D 3
A 1
E X X X

After that, moving two frets will take you to a Gm:

String 10th Fret 11th Fret 12th Fret

E 1
B 2
G 4
D 3
A 1
E X X X

The 10th-12th fret area will be where we stop since that is where most guitar
necks join with the body, and it becomes impossible to reach the notes you
want to fret. However, if you have a longer guitar neck, you know what to do
if you want to keep this going.
Although there is no need, because as you just read and possibly experienced,
the Am shape can help you play all the minor chords you know only by
moving one or two frets at a time. Add to that the accidentals which you can
play just by stopping between every two natural chords, and this applies to all
other barre chord shapes.
Imagine the power you’ve just been handed. The best part? With this great
power comes no responsibility.
Exercise
The main difference in sound between open position chords and barre chords
is the higher pitch. What you should do is compare the minor chords you
already know with their barre versions. Try to focus on the difference in
sound and how that affects the feeling that the chords give out.
Suggestions: Em, Fm, and Dm.
The A Major Shape
To play this shape, use your index to block the first fret of your chord and
stack your second, third, and fourth on top of each other on the third fret.

String Fret 1 Fret 2 Fret 3

E 1
B 4
G 3
D 2
A 1
E X X X

On its own, the chord shape is not at all challenging. The real challenge
comes when switching to and from this shape to other shapes, or when
sliding across the neck to get to a different fret. Having the pinky as the
bottom bun of a crammed finger sandwich isn’t really the best place for it,
but we’re not the ones making the chords.
You already know the basic A major chord so, here is the B major:

String 2nd Fret 3rd Fret 4th Fret

E 1
B 4
G 3
 D 2
A 1
E X X X

If we move this shape one fret forward, changing the root to C, we’ll end
up with a C major chord:

String 3rd Fret 4th Fret 5th Fret

E 1
B 4
G 3
D 2
A 1
E X X X

Two frets forward will leave us at the fifth fret with a whole new version of
the beloved D major:

String 5th Fret 6th Fret 7th Fret

E 1
B 4
G 3
D 2
A 1
E X X X
Then if we move two more half-steps, we’ll reach the seventh fret which
happens to be the position of the E major chord:

String 7th Fret 8th Fret 9th Fret

E 1
B 4
G 3
D 2
A 1
E X X X

One fret after that, there is an F major that starts on the eighth fret:

String 8th Fret 9th Fret 10th Fret

E 1
B 4
G 3
D 2
A 1
E X X X
Last but not least, at the tenth fret you’ll find the highest G major on a
twelve-fret guitar:

String 10th Fret 11th Fret 12th Fret

E 1
B 4
 G 3
D 2
A 1
E X X X

And there you have it, all the major chords out there just from one basic
shape.
Exercise
Because transitioning to and from these chords is tricky, it is better to start
working on that skill sooner rather than later. To do so, go to the fifth fret and
practice switching between the A major shape and the A minor shape. You
can strum if you want, but you don’t have to. The purpose of this exercise is
to help your fretting hand get used to new positions.
Also, try sliding from one A major-shaped barre chord to the other so you can
get used to maintaining your finger positions through the slide.
The E Minor Chord Shape
If you have the finger strength, this, for you, will be the easiest shape to play
because it requires very little finger dexterity. All you need is just your third
and fourth fingers on the third fret of the fourth and fifth strings, along with
your index barring, of course.
That is what the basic form looks like:

String Fret 1 Fret 2 Fret 3

E 1
B 1
G 1
D 4
A 3
 E 1

As you see, this simple chord poses the ultimate test for finger strength.
Instead of pressing one or two strings far away from each other, you’ll be
pressing four strings, three of which are the treble strings, which are thinner
and tauter, and that makes them harder to push down.
The Em shape starts from the Em chord and we’ve seen it a bunch of times
before starting from the F minor chord:

String 1st Fret 2nd Fret 3rd Fret

E 1
B 1
G 1
D 4
A 3
E 1

From here, we can move two frets or one whole step to get to a G minor:

String 3rd Fret 4th Fret 5th Fret

E 1
B 1
G 1
D 4
A 3
E 1
Two more frets after that will lead us to the chord A minor on the fifth fret:

String 5th Fret 6th Fret 7th Fret

E 1
B 1
G 1
D 4
A 3
E 1

Add two frets and you’ll find yourself playing a B minor on the 7th fret:

String 7th Fret 8th Fret 9th Fret

E 1
B 1
G 1
D 4
A 3
E 1
Move up one fret further and that is how you get to a C minor:

String 10th Fret 11th Fret 12th Fret

E 1
B 1
G 1
 D 4
A 3
E 1

And with that last chord, we’ve said all that we have to say about new minor
chords. You should now be able to play any minor chord you want anywhere
you want on the guitar.
Exercise
By now you should have tried playing minor chords using the Am shape and
the Em shape. What you need to do is pick one chord and play it in both
shapes. Let each chord ring itself away and concentrate on the sound
difference and how it might affect the song you’re playing.
For example, if you’re playing a reggae song, it makes more sense to stick
with high-pitched chords. On the other hand, you can’t do justice to a country
song without the earthy lower pitches.
The E Major Shape
The last barre chord shape is the E major shape. Once you get the hang of
barre chords, the ones with this shape are the ones you’re most likely to claim
as your favorites. Not only are they easy to play, but they’re also the most fun
to play because it feels better to slide your fingers on the thicker bass strings
than the much thinner treble strings.
When wrapping up the natural minor chords, we asked you to try and relate
the E major chord to F and G using your knowledge of music theory. This is
why:
Here we have a regular E chord:

String open 1st Fret 2nd Fret 3rd Fret

E 0
B 0
 G 2
D 4
A 3
E 0

If you move the shape one fret higher and bar the first fret, you’ll get an F
major:

String 1st Fret 2nd Fret 3rd Fret

E 1
B 1
G 2
D 4
A 3
E 1

If you move your index two frets so it starts at the G instead, you’ll get a G
major:

String 3rd Fret 4th Fret 5thFret

E 1
B 1
G 2
D 4
A 3
 E 1
Two frets after a G note comes an A note and, consequently, the A major
chord:

String 5th fret 6th Fret 7th Fret

E 1
B 1
G 2
D 4
A 3
E 1

Two frets after the A major, we have a B major that starts on the seventh
fret:

String 7th Fret 8th Fret 9thFret

E 1
B 1
G 2
D 4
A 3
E 1
If we move one fret higher, we’ll be turning the B chord into a C chord:

String 8th Fret 9th Fret 10th Fret

E 1
 B 1
G 2
D 4
A 3
E 1

And two frets after that we have our last E shape chord, which is a D major:

String 10th Fret 11th Fret 12th Fret

E 1
B 1
G 2
D 4
A 3
E 1
And this concludes all the basic major chord positions out there, which you
should be proud of knowing because it is a big feat for any musician who's
still starting out. Knowing these major barre chords can help you jam along
with rock, metal, grunge, or punk.
Exercise
Here is a treat for all of you, Nirvana fans. We're going to help you play the
intro to 'Smells Like Teen Spirit.' Before we go any further, you have to listen
to the intro to know what you'll be playing, so do that now.
Being a grunge song, it sounds better with muted strings and a low pitch,
which means that barre chords are the way to go here.
The intro goes like this: E - A - G - C
All those chords are E-shaped, so you're just going to be sliding across your
guitar and playing, there's no change in finger placement, which makes it
simple.
The strumming pattern, though, is a bit complex:
E: Down, up, down.
Mute x2
A: Down, Down.
G: Down, up, down.
Mute x4
C: Down, down, up.
Explanation: Starting with the E chord, you'll strum down, up, then down
again. After that, switch chords, mute your strings and strum again twice.
You can mute your strings by simply placing your fretting fingers on the
strings without pressing. And then follow through with the rest of the
instructions.
With practice, you'll notice yourself developing faster hand movement, which
will make your playing more song-like and less robotic.
A and Am Vs. E and Em
Why did we go over two extra ways to play major chords and another two to
play minor chords? Well, mainly because this is the whole concept of barre
chords. They allow you to move your chords. The second reason, which
sounds more professional, is because each chord shape lies in a different
place on its octave, which adds a bit to the chord's tone and character.
It all goes back to the root note placement. Chords that go by the A and Am
shapes start from the fifth string because that's where their root notes are.
Meanwhile, E and Em-shaped chords have their root notes on the sixth string.
Because it is the lowest string, when the sixth string comes into play, it adds
depth to the overall sound.
Add to that, A and Am-shaped chords require you to fret the lower strings
instead of the bass strings. What you end up with is an even higher pitch
because of the lack of bass and the fretting of the highest-pitched strings.
This is, however, a broad comparison that only applies to certain chords. The
main factor that affects the sound of your chord is where you play it. For
example, there is no way a D chord on the tenth fret will sound deeper or
fuller than a D on the fifth fret. The closer you get to the middle of the
fretboard, the more you'll find that the comparison applies.

How to Extract Power Chords From Barre Chords

What are the power chords to begin with? These are two or three-note chords
played using two or three strings, and they're signified by adding a "5" next to
the note letter, ex. C5. Because they're composed of only the root note and
the fifth, they're neither major nor minor, in other words, they're neutral. As
for their sound, it is low-pitched, intense, and pure because of their
simplicity.
They were first used in blues and rock, but they made their way to punk,
metal, and many other genres. Nowadays, it is common to find them in hard
rock/heavy metal songs, as well as the acoustic versions of these songs.
So, how do they relate to barre chords? They are essentially the first two or
three notes of any barre chord. But, because the third note is the same as the
first, it doesn't change the sound, it only has an amplifying/emphasizing
effect.
Power chords are divided unto the fifth and sixth strings depending on the
position of the root note. We'll only start you off with a couple of chords on
each string and leave the rest up to you.
The first and lowest power chord is the E5:

String Open 1st Fret 2nd Fret

A 1
E 0

This table shows only the fifth and sixth strings because they’re the only
ones played.
One fret after that, there’s the F5:

String 1st Fret 2nd Fret 3rd Fret

A 3
E 1

Two frets after that, there’s the G5:

String 3rd Fret 4th Fret 5th Fret

A 3
E 1

From there, you can just keep going down the string the same way we did
with barre chords.
This also applies to the fifth string. The first power chord there is an A5:

String Open 1st Fret 2nd Fret

D 1
A 0

The table here only shows the fourth and fifth strings, again, because these
are the only ones you should be playing.
Two frets after the A5 lies a B5:

String 2nd Fret 3rd Fret 4th Fret

D 3
A 1
As you see, it is literally the first two notes of a B major or a B minor.
Finally, to make your two-note power chord into a three-note one, all you
have to do is add your fourth finger right under your third, like this:

String Fret 1 Fret 2 Fret 3

E X X X
B X X X
G X X X
D 4
A
E 1 3

And for fifth string power chords, it's the same shape but taken down one
string. So, now that you know that go ahead and explore all the power chords
you've got there. But, make sure you're not hitting any extra strings. Getting
that accuracy will be a bit tricky at first, but it won't take you longer than 15
minutes.

The Capo
Earlier in the chapter, there was mention of a magic device called a "capo,"
which clamps onto the guitar neck and frets/bars your strings for you. Cool
device, right? Wrong. Although this is a biased opinion, so let's be fair. All
things taken into consideration, it does help greatly, but it is also impractical.
If you're playing an entire song only using barre chords around the same area,
with a capo, you won't need to barre anything, so you'll just be playing the
easy part. Nevertheless, your chord choice will be limited to only those after
the capo.
The second reason it's impractical is that it is the equivalent of The Ring from
Lord of The Rings, quite alluring and seems helpful to anyone inexperienced,
but it's quite the opposite. While it doesn't strip you of your humanity as The
Ring does, if you depend on a capo too much early on instead of learning to
barre a chord yourself, you'll only be hindering your progress as a musician.
Once you've mastered using your index finger, though, go crazy with a capo.
After all, no one can deny that many great musicians used capos for some of
their songs, plus they do have other uses like changing the key of your guitar,
but they're not a good idea to be used in place of learning how to bar a fret.
DIY Capo
All grudges aside, instead of going out and buying a capo, you can easily
make one at home using a pen/pencil and a hair tie.
Take the pen and place it over any fret.
Then pass the hair tie over the pen so that it rests on the pen.
Stretch the tie across the back of the guitar neck and over the pen from the
other side.
The tie should pull the pen against the strings blocking them.
If you've made it this far, give yourself a huge pat on the back. You've
learned your way through scales, triads, major, minor, and barre chords.
You've come to a great distance from learning what a fret is, and it is to be
commended. Now, on the off chance that you're just scrolling through the
book, don't give yourself anything, you haven't earned it. Stop trying to skip
pages.
 Chapter 6

Strumming and Picking Patterns

It takes two hands to play guitar, and we've been focused on the fretting hand
up till now. It's time for a little change. Strumming and picking are often
underrated because of how much more work fretting needs. The truth is, how
you strum or pick chords is what determines the sound you'll get. Fortunately,
the strumming hand is also the dominant hand, which means it doesn't take as
long to get used to picking or strumming.

Strumming Vs. Picking

Strumming is basically just dragging your hand or pick against the strings;
everyone knows that. How you strum is basically how you add expression to
what you're playing. You can strum softly or with the flesh of your thumb to
produce a quiet or a muted sound that works great with soft songs. You can
also strum loudly with your nails during songs that call for it or when you
simply get in the zone. And if you're using a pick, you can really dig into the
strings to get a sharper and more defined sound out of your strings.
As for the different strumming strokes, there are three main ones. The first
two are self-explanatory: downstroke and upstroke. A downstroke is when
you move your hand down, and an upstroke is when you move it upwards.
The third is a palm mute, which consists of a downstroke but, instead of
clearing the strings, press your inner palm and thumb against the strings to
mute them. By combining these different strokes into a time-controlled
pattern, musicians create strumming patterns for their songs.
Picking, on the other hand, is playing each note of a chord individually, this
use of chord is also known as an arpeggio. For example, if you're playing a D
chord, pick the strings starting from fourth to first. But, that's only one of
many shapes, the notes don't have to be played in order. It's a common style
in many genres, and you'll find it in quite a lot of song intros.
As a rule of thumb, the index finger is responsible for playing the third string,
the middle for the second string, and the ring for the first string. The actual
thumb is reserved for playing the top three strings. While slightly irritating at
first, you'll come to love this "division of labor." Unfortunately, this isn't the
most practical style to play with a pick, but it is definitely possible.
Tip: Whenever you're free or resting your fretting hand, practice
fingerpicking with open strings. Play the sixth string, then the lower three,
then do the same for the fifth and the fourth.

Essential Strumming Patterns

There are countless strumming patterns out there, but there are a few staples
that should make learning any new pattern as simple as learning a new word.
But, before you learn them, we need to have a quick word about time
signatures.
The most common time signature out there is 4/4. It means that the
notes/strums/silences in a piece are arranged in sets of four beats. It's why
you often hear the drummer counting off, "1, 2, 3, 4" before a song. This
count determines the tempo of the song, which, in turn, determines when to
strum and when not to.
When trying the following patterns, you'll find it helpful to use a metronome
(you'll find one online). Set it to 100 bpm (beats per minute) at first; it should
play a series of beats or clicks. Depending on what timing each pattern calls
for, strum in sync with the clicks.
Downstrokes
This strumming pattern consists only of downstrokes.
DDDD
1234
It's the most basic, and it's very common in genres where fast, heavy picking
is needed. Keep in mind that the pattern isn't concrete. Sometimes another
downstroke is added between every two strokes, so it looks like this:
DDDDDDDD
1&2&3&4&
Nevertheless, the additional strokes shouldn't affect the overall timing; they're
strokes played between the main four beats. Put into words, you should be
playing eight strokes in the time it originally took to play four.
Downstrokes & Upstrokes
Here, we're alternating between ups and downs like such:
DUDUDUDU
1&2&3&4&
Make sure to count as you're playing to ensure that you stay on beat.
Remember that it's all about flow, so relax and try to find the groove. Once
you do, the technicalities will feel effortless.
Adding in the Palm Mutes
The only new thing in this pattern is mute. Instead of a down, up, down, up
the pattern, we have an added mute with the second downstroke.
DUMUDUMU
1&2&3&4&
Think of it as if you're splitting the four counts at the mute strokes. When
counting, go "1 and 2, and 3 and 4."
Factoring in the Pause
A French composer by the name of Claude Debussy once said, "Music is the
silence between the notes." If you carefully listen, guitarists aren't always
strumming. There are a lot of times where they pause between ever so briefly.
That's what we'll incorporate in this next pattern:
DDUDUDU
1&2&3&4&
That's all that it takes. One pause can make a large difference, but to nail the
pause, you need to count the beats, at least until your mind gets accustomed
to the duration of a pause.
Reggae Style Strumming
We're all familiar with the choppy guitar sound in reggae music. The most
common pattern used by reggae rhythm guitarists is:
D DU D DU
1&2&3&4&
First of all, notice how the strokes are on the "&" or between the beats. It's
because, in reggae, the rhythm is led by the bass and the drums. The guitar
simply plays on the off beats i.e., the spaces between the main four.
Second, here the strokes are swift and short, which means that doing a down-
up should be easy because you won't be letting it ring. But, how to avoid
letting it ring? By releasing your grip on the frets.
Go ahead and play a chord right now. Notice how it plays for as long as you
have your fingers on the frets. If you lift your fingers and reduce the pressure
just a little, the sound stops. To get the choppy sound, release your grip right
after the strum.
Exercise
Armed with an array of strumming patterns, it's time to put them to work.
Pick three chords, any three chords.
Suggestion: C, D, and G. They sound great together, and they're among the
most used chords of all time.
First, practice strumming all four counts of each pattern with the three chords.
Then, try using two chords per pattern. Ex. Play a C for "1, &, 2," and a D for
"3, &, 4, &."
When you've gotten the hang of that, add the third chord to the mix. After
playing the first two chords, instead of starting over with the same chords,
play the third chord and then the first again, and so on.
Make sure you count the beats and practice with a metronome to help you
respect the pauses and strum at a consistent speed.

Picking Shapes
Learning picking shapes is an easy task. Once you know how to use your
pick or your fingers, it's all about remembering the shape, so you'll know
which strings to pick. When approaching a song for the first time, finding all
those notes scattered all over the tab sheet can be pretty overwhelming or just
confusing. These picking shapes will help you make sense of the other
picking patterns you'll be faced with. The Standard Broken Chord
This is the basis of all picking. A chord that, instead of being strummed, is
picked up and down.
Here is what it looks like in an Am - C chord progression:

E 0
B 1 1
G 2 0
D 2 2
A 0 3
E

As you see, these numbers indicate the fret you should be pressing on. What
you’re supposed to do is play an Am chord, and when you get to the last
note, shift your third finger to the third fret of the fifth string, and you’ve
got yourself a C chord.
The variations to this pattern revolve around omitting certain notes from the
chord or working the way back up the chord starting from the first string like
this:

E 0
B 1 1
G 2 2
 D 2 2
A 0 0
E

The Split Chord

This shape alternates between the lowest two notes and the rest of the
chord. With a C major, it should look like this:

E 0 0
B 1 1
G
D 2 2
A 3 3
E

When put together, these notes form the same chord. And when fretting, you
don’t need to move your left hand at all. Just by making a C shape, you’ll be
covering all the notes you need.
The Extra Note
This pattern is very similar to the first shape, but instead of playing just the
full chord, you repeat the note before last.

E 0 0
B 1 1 1 1
G 2 0
D 2 2
A 0 3
 E

Despite the similarity in appearance, it sounds quite different once you try it.
Exercise
Repeat the patterns above until you stop thinking about what you're doing
with your fingers. This would mean that the action you're doing is beginning
to turn into an automatic function. The more you do it, the more it lodges
itself in your muscle memory, and from then onwards, it's like riding a bike.
When you feel like the patterns aren't challenging anymore, try them with
chord combinations, Am and Dm, or C and Em, or A and D. However, when
playing five-note-chords with four-note-chords, it will feel off because of the
different numbers. To fix that, play the root note twice on the four-note-
chords.

How to Become a Good Picker/Strummer

Repetition
Like with many things, repetition is key with either style, but it goes more for
picking since it requires more muscle functions and finger dexterity. You're
definitely going to encounter all sorts of patterns when looking up songs to
play, and that is great, but sometimes it isn't enough. If you're aiming to truly
better your picking, to get to that level of improvement, you need to do some
fingerpicking drills. It's not as fun, we get it, but the cure for this is a shift in
perspective and a little bit of creativity.
You can start your practice session by picking first, second, and third strings,
in that order, slow at the beginning, but gradually increasing speed. It's
always a fun challenge to see how fast you can go and for how long. Plus,
you can use that time to practice your chords.
Another thing you can do is practice while watching a show or a
documentary or something. Everyone has a show they only half-watch, so
why not half-watch and half-pick?
When you see yourself getting better, you'll realize the full benefit of the
drills, and then they'll stop being a complete burden.
It is all in the wrist.
Most people make the mistake of tensing up while strumming or picking.
Whether with a pick or with their fingers, the struggle is the same. The
problem is that while locking your wrist and fingers gives the illusion of
control, what it really does is limit your movement and tire out your muscles.
It's very counter-productive, and it also happens to be one of the most
common bad habits guitarists develop early on.
If you've already developed the habit, it's never too late to undo it. From now
on, when playing, make sure you're paying attention to your wrist. Actively
make sure it is relaxed, yet not flaccid, and yes, there is a difference. A
relaxed wrist is held firmly but isn't tense; a flaccid wrist isn't firm. As you
start feeling more challenged while playing, shift your attention to your wrist
because that is when it's most likely to start tensing up. These little moments
of awareness should help you identify and change any bad habits you've
subtly developed.
When you attempt to change a habit, you'll notice yourself struggling to play
things you were once able to play easily but don't let that deter you. It doesn't
mean your skills are wasting away. Remember, you've done it once, you can
do it again. What really goes on inside your brain is simple re-wiring.
Naturally, it takes time for your brain to change its "ways of old." Once that
happens, you'll find yourself even better than before.

Guitar Pick Vs. Fingers…Again

If you've been mainly playing with a pick and then decided to shift to using
your fingers, or vice versa, ground yourself in the fact that you won't be as
good at the second method. You're not just "keepin' it fresh," you're learning
a whole new thing. It is a whole mentality shift.
People who use picks have to think about the distance between their pick and
the strings so it won't get caught. They also have an accurate sense of the
position of each string because, to get somewhere on the guitar, they have to
move their entire hand. Mainly, they use their wrist or forearm for picking
and strumming, so their fingers are technically guitar virgins.
On the other side, finger pickers have seasoned finger muscles, primed
muscle memory, but their wrists aren't really used to the small movements
needed to pick a guitar. Not to mention, with fingers, you don't need to think
about which string you're picking because you have four fingers that do the
job for you. In addition, fingertips over a grip on strings that a pick doesn't
offer. This makes strings feel slippery at first for those new to using a pick.
The point is, it isn't easy shifting from one method to the other. So, if you're
about to do that, don't give yourself a hard time. Understand that it will be
frustrating at first. While your fretting hand will know what it's doing, your
strumming one will be pretty confused. Meaning, you can play a piece
perfectly using one method, then switch and watch your skill level plummet.
But, this is all at first. You just need to practice enough, and your guitar
instincts will kick in. It's just the first hurdle that you need to pass.
There's no way you've reached the end of this chapter and haven't yet tried
out any strumming or picking patterns. With your newfound knowledge, why
don't you scroll up and try playing the songs from the previous song lists?
You should find strumming a much less complicated thing now. Plus, you get
to try playing the intros to 'House of the Rising Sun' and 'Sweet Home
Alabama,' two of the most popular song intros.
 Chapter 7

Advice for Beginners

For the past six chapters, you've been stuffed with all sorts of information,
instructions, and drills. As we get to the end of the book, having a change of
pace and topic is a must, especially because, when starting out, things can get
overwhelming and confusing very easily. There are just so many chords and
terms and techniques, and everyone seems to have a different opinion on how
to go about doing them.
In this chapter, we'll show you the ropes of everything. All the questions you
have on how to practice, what you should start with, when it is okay to take
breaks, and most importantly, we'll recommend online resources for you to
help you out with your learning. So, put your guitars down for this one, this
chapter we're focusing on you.

The Practice Session

Practicing is a very important part of bettering yourself. Even more so when
doing something that depends a lot on muscle memory, speed, and finger
strength, three things that are only acquired through repetition. The problem
is that people are often unable to see that practice is just a whole, made up of
parts. See, practice isn't just playing songs. It's also learning music theory and
doing finger drills. These are all parts of the process that need to be factored
in because fixating on one sole part is counter-productive.
If you've been through a bad experience with music teachers before, chances
are they focused too much on theory and technique, until, at some point, you
fell out of love with the instrument you were once fascinated by. Music
theory is fun when taken in the correct doses. But, if you only view "true"
practice as theoretical learning and finger drills, you're bound to develop an
aversion at some point. It's the same thing that happens when dieting. People
have the pre-existing conviction that for a diet to work, they need to be
starving. What happens is, one week in, all rules drop, and they're back to
their old habits.
Properly practicing guitar is so much simpler a process than what you think.
There are four types of practice: theory, drills, playing songs, and free play.
Each has its value, and all should be incorporated within your week or day.
Music theory helps you develop a deeper understanding of the songs you're
playing and how they were composed. In addition, it provides the principles
for making music, so when you play or compose, you actually know what
you're doing. It's fun, but it can get too much too fast because it is a dense
subject.
Drills are mindless. These are designed to get your fingers moving faster and
more flexible and condition them to the different types and patterns of motion
required for playing. From Eric Clapton to Jimi Hendrix, all guitarists do
them. When you're in the moment, they tend to seem pointless, but their
benefit shows in how much faster, clearer, and comfortable you gradually
become when playing actual pieces.
Playing songs is the most underrated aspect of the practice. First of all, it is
loads of fun, and that's important. Second, when learning songs, you're
exposing yourself to various music genres and writing styles. Other than
being able to see real-life applications of music theory, it also helps when
improvising or writing your own music. All artists are influenced by those
before them, and learning songs is our form of connecting with the ones
before us. Third, songs constantly offer new challenges in terms of speed,
new chords, and hard-to-reach notes. When you manage to overcome these
obstacles and play the song you want, it's like a milestone that can be a real
confidence booster when you're feeling frustrated with yourself.
Free play is where you get to see where your mind goes when you're alone
with a guitar and no one to tell you what to do. Although it is a level of
practice that is only unlocked after learning your first scale. Through free
play, you get to purely express yourself, experiment with what you've
learned, see what notes work together, and develop your own original style.
Four aspects, as you see. But how do you combine them? Well, this mostly
depends on your personal preferences. Ideally, you should have the four in
every session. Warm-up with some drills, and, when you feel that you've had
enough, move over to playing songs. By then, your fingers should be tired,
so, while resting, try to learn some music theory, maybe the names of notes
or a new scale. When you're all rested, apply the theory you learned to
cement the information and, from there, switch to doing some free play.
Before you put down your guitar, do a simple drill, and call it a day. This is a
well-rounded, one-size-fits-all arrangement. If you're not a big fan of it,
switch it up however much you want, and this is the perfect segue into the
next point.
Pay Attention to Your Wants and Needs
This is your training process which means, it is always your call. But, to call
the shots, you need to listen to yourself first.
We all have different learning styles. Some can sit down and have a long
practice session where they cover all aspects of learning. Others prefer to
have shorter sessions, each one dedicated to one part of learning. And within
those sessions, some find that they get too drained if they start with theory,
while for others, theory can be a motivator. In the past, you may have been
fed the idea that you need to force yourself to practice in a certain way, but in
the most eloquent phrasing, says who?
If you feel uncomfortable with a certain arrangement, stop and listen to
yourself. Only when you really listen, you'll be able to find out what best
helps your learning. Then, you can tailor sessions to your preferences. Doing
so is guaranteed to cause a spike in your motivation levels and your learning
speed.
Also, don't be afraid to go off track. It is extremely common to have bad days
where you don't feel like picking up your guitar. When you do have those,
don't force yourself. You can try, but you'll end up with a crappy, fruitless
session. But, try respecting your needs, and you'll be setting a clear boundary
in your head. Next time you pick up your guitar, not only will you have an
even better time, but you'll also feel safe and free enough to go way beyond
your set time.
Moreover, by listening to yourself, you'll be able to deal with yourself when
overwhelmed, and instead of cutting the session short, you'll be able to
recover quickly. One helpful method is getting a confidence boost. In the
midst of learning a new technique, you're prone to falling into the cycle of
frustration. When you try and fail at perfecting a thing you're practicing,
naturally, you start getting frustrated, so you try even harder to get it right,
but because you've lost your clarity, you see you're getting even worse, and
that leads to even more frustration. The cycle usually ends with feeling like a
loser.
Rather than going through all that, when you first notice your frustration,
pause, address it, regain composure, and try again. Then, when it gets more
intense, that's when you know it's time for a confidence boost. Playing a
song, you're good at, or a song that you particularly like playing is one of the
best ways to refresh your mind. It serves as a way to remember how far
you've come and how much you enjoy playing. When you get back to
practice, you'll find yourself approaching the technique with a replenished
drive.
That being said, there's another side to listening. It's not just about making
yourself comfortable. It's about doing what's best for you. And, while
sometimes this means knowing when to stop, it also means knowing when to
push yourself harder, and when to practice things in spite of you not feeling
like you want to. After all, no one ever got anything from never leaving their
comfort zone. The key is striking a healthy balance that serves you best and
takes into consideration both your needs and your wants.

Improving Your Style

Play with Confidence
Confidence shows in your playing style. It affects how loud you play, how
fast you do it, and the clarity of your sound. If you're not confident, naturally,
you won't want to be heard. Without you actively doing it, you'll start playing
lower, slower, and you won't be as active when moving your hand around the
fretboard or as firm when pressing on the frets. Needless to say, it's not fun,
and it massively inhibits progress.
While the main solution to a lack of confidence lies within a person's mind,
being aware of your playing style will help you change it. This change will
make all the difference because, once you've experienced playing
confidently, you won't ever want to go back.
Fret Properly
Where your finger is on the fret matters a great deal because it impacts the
sound of your notes, the best place to fret note is near the end of the fret, right
before the thin metal separator. By positioning your finger near the end of the
fret and pressing the string firmly against the fretboard, you'll be
guaranteeing yourself the clearest sound you can get.
Of course, this gets increasingly challenging and almost impossible with
some chords and notes, so don't stress about it. But, for the most part, you
should get used to having this as your normal way of fretting.
Play Smart
The best way to go back and forth between chords and notes fast enough is
not by performing finger acrobatics or performing parkour all over your
fretboard. Speed is a major factor, don't get it wrong, but why overexert your
fingers, making seven moves when you can make two and still play the same
thing?
When picking, a basic rule is that you're always picking a chord no matter
how many or how few notes there are. When looking at the tabs for a picking
pattern, your first instinct would be to play it by moving your fingers note by
note. Instead, ignore this first instinct and take a close look at the notes you're
playing. Within seconds, you're going to make the connection between the
scattered notes and their chords, and instead of moving note by note, you'll
start moving chord by chord, covering multiple notes at a time. It's such an
easy thing to do, especially when some tabs have the chord names included
above each note group.
When strumming chord progressions, sometimes there are shared notes
between chords. Like, the second finger on the second fret of the fourth string
in Am and C, or the third finger on the third fret of the fifth string in C and F.
Knowing those shared notes saves a lot of time and effort when moving from
a chord to another. When normally you'd have to move your entire hand
when transitioning, a shared note provides a pivot or a fixed center that you
can move the other fingers around.
Pre-planning your moves is how you play smart and fast instead of just fast.
If you know where you're going with the picking pattern or the chord
progression, you can plot your movement, and even use finger placements
that suit the majority of chords you're playing. Just like when switching from
E to F. In a situation where you know that you'll be going from E to F, it's
smarter to use the fingers 2, 3, and 4, but if you're going to be moving from E
to C, it's a lot more convenient to use 1, 2, and 3.
Respect Time
Whether you're playing alone or in a band, you must know how to maintain
the tempo/pace you're playing with. It's a skill that differentiates great
musicians from mediocre ones.
When playing a song, it's easy to get distracted, lose the pace you started
with, and start going faster/slower than you should. If you're playing along
with a track in the background, you'll notice that you're either falling behind a
little or waiting for the music to catch up with you. In both cases, it isn't
good.
Some people have a natural ability to keep time, and for them playing at a
stable pace is effortless. For those who don't already have that ability, a stable
pace comes with a bit of effort at first. Whether you fall under the first type
or the second one, developing and honing your timekeeping skills is a must.
The good news is that it's an easy skill to master. What it's going to take you
is a metronome. It's a device that ticks at a constant number of beats per
minute, which then you can increase or decrease. You can buy them at music
stores, or use an electronic version available online for free. While practicing
drills, playing songs, or just improvising, do so with a metronome and follow
its lead. Whenever you're rushing or dragging, you'll hear yourself off-beat.
When that happens, change your speed accordingly.
In time, you're going to get a better sense of the pace you should be going
with. Consequently, you'll also develop an ability to keep a solid pace and to
identify when you're off-beat and self-adjust. Plus, by gradually increasing
the number of beats per minute and training to keep up with the faster tempo,
you'd be improving your overall playing speed. Eventually, you're not going
to need a metronome at all.
The Holy Rule
People stress too much on learning chords instead of listening to them. In
fact, it's generally easier to focus on learning and playing than to focus on
actively listening. This is a huge mistake because, in the same way, an artist
knows their colors, a musician has to know their sounds in order to use them
properly and identify them in other pieces of music. And, most beginners
start playing full songs before they even learn how to tell apart major chords
from minor chords. That's why, when explaining chords, we kept the focus on
listening to and feeling the sounds.
Actively listening to chords and music, in general, can change the way you
experience music completely. Instead of memorizing the things other people
feel when they listen to music, you'll be able to have a personal relationship
with your own music, and the best thing? When learning chord sounds and
what each chord feels like, you don't have to stick with certain adjectives or
descriptions. It's actually common for people to associate chords with images
or scenes from their own memories and experiences. Whenever you can't find
a word to attach to the sound you're hearing, remember that all you need to
do is focus on what the sound makes you see, think, or feel. Nothing more,
nothing less. Just listen.
Don't Neglect Your Guitar
For our last piece of advice, make sure to keep your guitar clean and well-
preserved. Invest in a sturdy guitar case to keep it safe when you're not using
it, or when you're traveling. Change the strings when you need to, and clean
the strings every now and then using rubbing alcohol and a dry towel. Also,
make sure you wipe down the neck and body using a soft towel.
These few things can save you so much time and money because they'll keep
your guitar in excellent condition. Meaning, it will last with you for a long
time, and if you decide to sell it, you'll definitely get a good offer for it.

Additional Tools
GarageBand
This software is considered to be one of the simplest and best DAWs (digital
audio workstations) available for free. Using the software, you can record and
edit your music, add virtual instruments, and gain access to cool features like
a built-in digital metronome. The only drawback? It's only available for
Apple devices.
Cakewalk by BandLab
On the other side of the coin, Cakewalk is a free DAW that's only available
for Windows. While it offers more technical features than the Garage band, it
does so at the expense of simplicity. Despite being a great software, you'll
only find it beneficial if you start getting into the whole music recording and
production game.
GuitarTuna
For quick tuning on the go, this app is a great choice to have on your phone.
Not just that, the app also has an impressive collection of chord diagrams and
mini-games that combine entertainment with learning. And they just happen
to be a good way to pass the time during lectures or meetings.
Google Metronome
If you enter the word "metronome" on google search, the engine will direct
you to a built-in metronome. From there, you can just adjust the speed, press
play, and get going.
Ultimate-Guitar.com
This website is among the best and most inclusive music-teaching websites.
It contains the chords and tabs to almost every song. The fact that it allows
user contribution makes it more of a community, and it also guarantees the
most accurate input possible by enabling users to provide feedback and edit
their tabs.
By taking these points into consideration, paving your way through your first
practice session, and navigating through the ones after that should be an easy
ride. Remember to take full advantage of the resources and tools we've
mentioned, and the ones you're bound to discover on your own. It's all
designed to help you learn as much as possible and grow as a musician.
 Conclusion

Congratulations! You've made it through the whole book. It's only

appropriate that you take a moment to look at what you've come through and
learned, and truly appreciate the difference between where you were and
where you are now.
You went from learning basic things like guitar types and sizes to pure music
theory, a heavy topic that a lot of people find complicated, and all the way
through twenty-four major and minor chords, not to mention the barre chords,
and power chords. And on top of that, you learned four different strumming
patterns and three picking shapes. At the risk of being repetitive, give
yourself credit for this.
And to officially welcome you to the world of guitarists, here are a few things
and realizations you'll come across on this beautiful journey:
Calluses. All guitarists have them. If you know anyone who plays, call them
right now, and they'll tell you. But, what they'll also tell you is that it is a rite
of passage. It means you've been practicing long and hard enough. If they
haven't yet developed, you need to pick up that guitar and play some more.
Just in case you're wondering, no, they don't look ugly, and they're not at all
permanent. All they are is hardened skin that protects your fingers from
strings. If you stop playing for a while, your skin will return to normal.
Coordinating between singing and playing. It's a lot harder than it looks. The
reality of it is that you're maintaining a strumming pattern, a stable tempo,
transitioning between chords, and singing at the same time. And to top it all
off, you could be playing in a certain rhythm, but singing in another,
depending on the song. All of that and we haven't even started talking about
professional singing. It takes a bit of practice and getting used to, and it helps
if you start with a song that you can already flawlessly play.
Memorizing chords isn't really that important. No one knows all the chords.
Other than the basic chords, every guitarist knows a unique set of chords
composed of the chords they most frequently use and encounter. The thing is,
once you've mastered the physical part of playing chords, you can learn a
new chord just by seeing someone play it, or looking up the chord shape. And
as for remembering forgotten chords or using new ones, that's what music
theory is for.
Changing strings is a sacred activity. It's an activity through which the
relationship between a musician and their guitar gets truly forged in steel.
There's just something about taking care of your guitar after one of its strings
snap, or when they get older.
Bass is stupid. There's this unspoken animosity between guitarists and
bassists. Guitarists think bass players just sit around and do nothing. Bass
players think guitarists are like little kids who get to goof around while the
adults control the pace of whatever is being played. It's almost identical to the
eternal feud between dog-people and cat-people. Dogs rule.
Bass is kind of cool. When you start appreciating bassists and actually
become interested in it as an instrument, that's when you know you've
matured. But, to be fair, it isn't always used to its full potential, which makes
it a hard instrument to notice, especially as it has a subtle sound and a very
low pitch.
This song is awesome! The more you know about guitar and music theory,
the more you'll start noticing how awesome some songs actually are. It won't
matter if you've listened to it a million times, there are some things that you
only notice when you've known what it's like behind the scenes.
Jam sessions are amazing. One of the best experiences you'll have as a
musician is playing along with other musicians who share the same passion
you do. Just imagine one person playing whatever feels good, then the rest
following along with their own instruments and ideas on how to make it
better. If you liked that whistling scene from The Breakfast Club, you'd fall in
love with jam sessions right away.
Now, as you start practicing for longer hours and getting more and more
invested in this whole world, don't forget what music is all about. The
essence of music is passion, and the moment you lose that, your music will
feel lifeless and forced.
Try to have as much fun as possible while practicing and playing. Don't dwell
on every mistake you make or every skill you haven't yet perfected, and most
importantly, don't compare yourself to other players. It's a slippery slope that,
at best, will result in you becoming another version of whomever your
competition is, instead of becoming your own person and developing your
own style. At worst, it will make you feel inferior and is likely to kill your
motivation and drive. Plus, every player is different, and the number of
factors that affect a person's style and skill level is huge. It is never as simple
as "they're better than me."
With these as our final words, we send you off into the world of musicians
with the best of luck. Thank you for buying the book and choosing us to be
such a major (and minor) part of your journey.
 References

https://www.musical-u.com/learn/classical-vs-acoustic-vs-electric-best-
guitar-beginner/
https://www.musiciansfriend.com/thehub/stratocaster-vs-les-paul-which-is-
right-for-you
https://www.musical-u.com/learn/how-to-tune-your-guitar-by-ear/