Guitar Noise

In our latest lesson in this series, we look at a basic rock progression and examine the choices we can make in terms of scales for soloing. Plus we get a look at the Mixolydian mode as well as discovering a new use for the Dorian.

In honor of St. Patrick’s Day, here’s a Celtic arrangement of Lynyrd Skynyrd’s “All I Can Do Is Write About It” done in DADGAD tuning. A wonderful way to remember your home, whether home is in Alabama or Caledonia.

Before moving onward with modes, it’s important to grasp the concept of “target” notes as well as to understand that a target note doesn’t have to be a part of the chord in a chord progression. Here we’ll look at how single notes can used to create far more interesting solos than simply using “safe” notes.

Knowing a single major scale opens the world of modal soloing to you, if you know how to read the signs. We’ll take a look at how to recognize when to use the Dorian scale, and also take a moment or two to compare and contrast it with the minor pentatonic scale.

It only takes a single note to change the minor pentatonic scale into the “blues scale.” And what a world of difference that one note can make! As in the previous lessons in this series, we’ll provide you with MP3 sound files in order to help you create your own solos.

You never know who you’re going to meet in life. And, given the way things are these days, you also never know who you’re not going to meet yet still get to know and appreciate. Joining FODFest the past two years has hammered home, to me at least, the point that every life can make a difference in this world.

Guitarists nowadays think of rhythm in terms of “up” and “down,” the motions of strumming, instead of thinking of rhythm in much simpler terms – numbers and counting. In this, the first of a series of four articles, we begin to hone our strumming techniques so that any rhythmic pattern will be within our grasp.

Last time out we sampled the different flavors the major and minor pentatonic scales offered us as tools for soloing over blues progressions. While each had its owns merits, we can create an even more tasteful (not to mention useful) solo when we combine the major scale with the blue note elements of its own minor pentatonic. Come listen!

While it’s vital to use a chord progression to help you decide on a scale, knowing the style or feel of both a song and a scale is just as important. This lesson focuses on the minor pentatonic scale and why it is used so much for blues (and other genres) in major keys.

After spending our last lesson looking at all the notes in a scale, this time we’re going to just look at a few. One of the best things you can do to get going as a soloist is to minimize the number of notes you use in a solo. Focusing on one, two, three or four notes will help you on both rhythm and phrasing, which make a solo a lot more interesting than just stringing as many notes together as fast as you can.

Putting together solos is not easy for a lot of people, and the conventional teaching (”just use your scales”) doesn’t always make sense when you’re just starting out. In this, the first of a series of articles, we take a listen to the differences in tonal color between the major scale and the major pentatonic.

If you’ve read Part 1 of this tutorial, you’re probably amazed at how easy basic finger style guitar can be. Now, by simply changing one small thing that we learned last time out, even beginners will be able to find themselves playing a little Dust in the Wind…

Finger style guitar is easier than you think! In this lesson we’ll start with the very basics and get you going on some very cool (and very simple) finger picking patterns. Plus, we’ll toss in Bob Dylan’s Blowin’ In The Wind as an incentive to help you practice more!

We’ll be spending a lot of 2008 looking at song arrangements, so it’s best to start off with a discussion on strumming patterns and the trap that you can get into by letting a strumming (or picking) pattern be your major concern.

Here’s another Easy Song for Beginners’ Lesson, using our continued study of walking bass lines to help us create an arrangement where the bass line also helps us move the song along by shadowing the melody. Once the basics are in place, you can make the rest of the arrangement as simple or as complicated as you’d like.

For many guitarists, playing and songwriting go hand in hand. Since both skills improve with practice, why not try practicing on both simultaneously?

We continue our study of walking bass lines, looking specifically at how the timing and distance become our guideposts, helping us to map out our journey from one target note to the next. Examples from many songs, including a little of Bob Dylan’s You Ain’t Going Nowhere and Wake Me Up When September Ends by Green Day will serve as demonstrations in our lesson.

Here’s an interesting twist – we’re going to use a walking bass line as a way to help us get faster and cleaner chord changes, specifically between the G and C chords. Sound implausible? Well, come along and join in the fun.

Walking bass lines are an easy way to spice up your playing and also learn a little about music in the process. In this lesson we’ll look at a very basic walking bass line, how to put it together and how to recognize when we can use it in other songs. Plus, to illustrate the point of the lesson, we get a teeny little bit of Pink Floyd’s Comfortably Numb thrown in.

Just as there are all sorts of ways to make a living in music, there are more ways why people decide not to follow their dreams. More often than not, the simple task of being prepared to ask oneself questions (and to answer honestly) can get you living the life you dream about.