Archive for: September 2008

The acoustic guitar is a popular instrument amongst all age groups and is a very rewarding instrument to learn to play even though you do not get to fool around with cool electric guitar sounds. So let us take a look at the techniques you will learn as an acoustic guitar player and some legendary guitarists whose work will need to become familiar with in order to hang out with other acoustic guitar players.

You can think of acoustic guitar technique in two ways: you can be a strummer or a picker. A strummer plays by dragging your thumb, index finger or plectrum across the guitar strings. You can find a multitude of strumming patterns on the internet. Start with the simplest you can find. Some strumming patterns simply show the names of the chords you are supposed to be strumming, and others show that you include only selected strings. The strings that are not included can be damped with the little finger of the left hand or the heel of the right hand.

You can pick using a plectrum - this technique is called flatpicking - or use your fingers. If you decide on fingerpicking you might want to use picks which fit on the thumb and tips of your fingers. Steel strings are hard on the fingernails so you might need fingerpicks to stop your nails being torn to shreds. Nylon strings do not demand the use of picks but after you have had some experience playing guitar you can make the decision based on the kind of sound you want.

A simple start to fingerpicking is to finger an E minor chord and place your fingers on the strings you intend to play. Do not try and do any picking, just decide which strings are the ones you are playing in this chord and place your right hand fingers in a plucking “stance” ready to play. So for the E minor chord you could place your thumb on the sixth string and your first finger on the third string, you second finger on the second string and your first finger on the first string. Now pluck each string by pressing down with the thumb and pulling up with the fingers.

If you want to see what you can do if you foster your devotion to the acoustic guitar, Leo Kottke is a good start. He is an innovative fingerstyle acoustic guitarist who is strongly influenced by folk music, jazz and blues. Another great is Tommy Emmanuel, an Australian acoustic and electric guitarist known for his energetic fingerpicking style. He has developed his own style based on the “travis picking” style of playing he heard played on records by Chet Atkins.

“Travis picking” is a style of finger picking which involves playing bass with the thumb, and melody with the first two or three fingers simultaneously. This picking style was developed by Merle Travis, an American country and western singer and songwriter who composed one of the early fifties hit songs, “Sixteen Tons”. While we are talking about travis picking, you have probably heard of Chet Atkins. He was an influential Nashville guitarist and producer of records for many famous recording artists. He played mostly electric guitar and his picking technique was inspired mostly by Merle Travis with musical influences from Django Reinhardt and Les Paul.

For the acoustic guitar player who elects to stay with the plectrumn, “Doc” Watson is an American bluegrass, folk, country, blues and gospel music singer and guitar player. He is revered by other guitar players for his astonishing flatpicking style although he does do fingerpicking.

The acoustic guitar repertoire of today owes alot to the folk revival of the sixties. Here are some names from that era whose work you should catch up with:

John Renbourn the English guitarist and songwriter is best known for his work with fellow guitar player, Bert Jansch and his career with the English folk group Pentangle. Renbourn’s musical interests include early music, folk, classical music and blues.

Bert Jansch is a Scottish folk musician whose influences include English guitarist Davy Graham. His music has influenced Jimmy Page, Ian Anderson, Donovan and Neil Young.

John Martyn is an English guitarist who also sings and writes songs. He has made twenty studio albums and worked with famous musician like Eric Clapton, David Gilmour and Phil Collins. He has invented his own sound featuring an acoustic guitar played through a fuzzbox, phase-shifter and Echoplex.

Davy Graham is a guitarist who featured heavily in the English folk scene in the nineteen sixties. Many acoustic guitar players like Bert Jansch, John Renbourn, Martin Carthy and Jimmy Page. His acoustic instrumental piece, Anji was recorded by Paul Simon on an early Simon And Garfunkel album.

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To be a lead guitar player, you will need a knowledge of scales, arpeggios, riffs and licks. This short article is for the beginner guitar student who maybe knows some basic chords but wants to branch out to lead playing. Of course it is not always necessary for the lead guitar player to play solos. The lead and rhythm guitarists can work together to complement the singer’s vocals. For instance the lead guitarist could play the same chords as the rhythm guitar only in a different position on the fretboard.

The most obvious and also the most freely available guitar teaching resource on the internet is guitar tablature. You can start reading guitar tab in a matter of minutes, and the more esoteric symbols used in tabs can be learnt over time as your guitar technique improves. The guitar student who aspires to being a lead guitarist should augment their tab collection with some time spent trying to work on learning material by ear. If you find picking up lead guitar solos by ear heavy going, then work on whatever you can pick up from tabs but keep plugging away at learning lead guitar by ear.

One thing you should search for in tab archives is guitar scale patterns. You can usually start with a scale in one position and work out where to play in other positions for yourself. Again, supplement your tab learning with developing your ear. Arpeggio patterns can also be found in tab form. The most important scales to learn for a beginning lead guitar player are the five shapes of the pentatonic scales. The pentatonic scales are easy to learn and guitarists find that audiences love listening to improvisations on the pentatonic scales. The favorite pentatonic scale shape is the minor pentatonic at the fifth fret on the guitar’s neck:

Pattern One:

E—————————————5–8—-

B——————————–5–8———–

G————————-5–7——————

D——————-5–7————————

A————5–7——————————-

E——-5-8————————————-

Not quite so easy to play is this one:

Pattern Two:

E————————————-8—10—-

B——————————8—10———–

G————————-7–9——————

D——————-7–10———————–

A————-7–10—————————–

E——-8–10———————————–

But what you gain with this shape is the facility to move up the fretboard in a sneaky and guitaristic way.

The next three pentatonic shapes are a bit more challenging, but if you find yourself balking at the extra hard work remember how cool it looks playing way up the top of the neck.

Pattern Three:

E————————————-10–12—-

B——————————10–13———–

G————————-9–12—————–

D——————-10–12———————-

A————-10–12—————————-

E——-10–12———————————-

Pattern Four:

E————————————-12–15—-

B——————————13–15———–

G————————12–14—————–

D——————-12–14———————-

A————-12–15—————————-

E——-12–15———————————-

Pattern Five:

E————————————-15–17—-

B——————————15–17———–

G————————14–17—————–

D——————-14–17———————-

A————-15–17—————————-

E——-15–17———————————-

Some people find practicing lead guitar alone difficult because the presence of the other band members helps to get the creative juices flowing. Playing along with CDs is a great way to practice improvisation. You need to know when to put the metronome and scales away and do some good old bedroom grandstanding. You could also play along to drum machines. Or you could play along to some music that is not familiar to you. Take a moment to find what key you are playing in and start jamming. Practicing like this will help you stay out of the rut of playing the same material all the time.

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If you are new guitar player who wants to make a career or a hobby out of playing blues guitar, then this essay will give you the basic points to get you on your way as a player and interpreter of the blues. Or maybe you have no intention of specializing in blues guitar playing. In that case my essay will give you the bare bones of musical interpretation using the guitar. These basic points can be applied to any genre of guitar music. For a start here is a page featuring a free blues scale guitar lesson.

So, let us start with a minor pentatonic scale. Whenever you see the word pentatonic you know the scale has just five notes. This is the A minor pentatonic scale starting at the root note - A at the fifth fret of the sixth string:

E—————————————5–8—-
B——————————–5–8———–
G————————-5–7——————
D——————-5–7————————
A————5–7——————————-
E——-5-8————————————-

I have found a video lesson showing this scale:

If you are used to playing barre chords, just barre the fifth fret and use the third and fourth fingers to play the notes at the seventh and eighth frets. As the first note in this scale is the root note, all you need to do to play this scale in other keys is to slide your first finger up or down the guitar neck. So now we move the barre up to the eighth fret which gives us the root note C. You will notice that now we have added some extra notes. This is the blues scale in the key of C. The notes we have added to the minor pentatonic give you more opportunity to give your music that “bluesy” feel.

E—————————————————-8—11
B———————————————8—11——-
G———————————-8–10–11—————
D—————————8–10————————–
A—————-8–9–10———————————-
E——-8—11———————————————

Here is a video lesson from YouTube on this blues scale:

The minor pentatonic scale can be played in other positions on the fretboard. You need to learn where the notes are because the same note played on a different string sounds different. So the more positions you can play in the more variety you can put into your playing.

A word of warning here. Do not spend all your time learning the scales by heart. Once you can play a scale in one position, play with it. Try bending the notes, see what other notes sound good with the notes in your scale. In other words, give the scale some of your individuality. If you do not feel confident about doing this, then just fall back on imitating what other guitar players do. Do not worry that you are copying other guitarists’ material. Most guitar players start off this way. Using other musicians’ licks as a springboard for your own playing will get your juices flowing and you will be adding your own licks in no time.

Another way to approach learning scales is to learn a melody by ear and try to work out the scale it comes from. This might seem like hard work at first but it is a very pleasant way to learn music. Another thing to remember that blues music has a resolution. Your solos are all travelling to the end of the twelve bars or whatever style of blues you are playing, so any note you play on the way is fine.

Once you have a basic understanding of the blues scale and you can play it in a couple of positions on the guitar fretboard, you will need to look at the question of phrasing. There are so many excellent blues music tracks on record going back over a hundred years all you need to do is listen and imitate. Of course, your imitation does not have to be one hundred percent accurate, but other guitar players blues solos give you ready made starting points for your own original blues playing. One point to remember for beginner blues guitar players is that now you have a blues scale to play, you do not need to play all of the notes all of the time. If you have a backing track or some music you would like to solo over, start with one or two notes in the scale. Bend them, hammer them on, practice your vibrato, slide into those notes, make them yours.

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