We tend to play what we practice. Those of us who practice regularly with a metronome are practicing our lines, scales, and arpeggios on the beat. Thus your phrases and lines end up starting and ending on the beat. While there's nothing wrong with this, I find that phrasing like this makes the music feel heavy-footed and less than exciting to listen to.
In this lesson I discuss a few options I use when playing over dominant 7 chords. I’ll take you through a methodical process of using scales that progressively use more and more dissonant notes. It will be this intermingling of consonant and dissonant sounds that will add a lot of interesting elements to your playing and give your solos the contrast that will keep your audience listening.
Great melodies, songs and solos tend to have a “call and response” element. Some like to describe it as a “question and answer” quality. Listen to classic artists like B.B. King, Chuck Berry and Albert King for great examples of this in their vocal melodies and guitar solos.
So you’ve spent time learning some arpeggio shapes. Now what? Arpeggios are a great musical tool that allow you to make melodic statements using harmonic (chordal) information. When playing over chord changes, using arpeggios is the quickest way to navigate your way around them.
These lessons are aimed at breaking through barriers that might be preventing you from improving on the guitar. Some of these lessons will simply give you some good food for thought, and some will be more hands-on. Written to help you get past that plateau, these lessons are here to help you mix things up and keep your relationship with the guitar an interesting one.
This lesson takes the same ideas discussed in my last lesson, "Increase Left-Hand Strength and Produce Great-Sounding Sequences,” and applies them to the diatonic major and minor three-note-per-string scales. It will help you get the seven positions of the major scale memorized, increase your left-hand strength, solidify your alternate picking and deliver some great-sounding sequences.
These lessons are aimed at breaking through barriers that may be preventing you from improving. Some of these lessons will simply give you some good food for thought, and some will be more hands-on. Written to help you get past that plateau, these lessons are here to help you mix things up and keep your relationship with the guitar an interesting one.
In this lesson, I'm going to show you a two-hand tapping workout based on the foundation of my previous lesson, “Pentatonic Workout: Increase Left Hand Strength and Produce Great-Sounding Sequences." Assuming you're already comfortable with the five positions of the pentatonic scale and the sequences discussed in this previous lesson, we'll now take it to the next level.
It’s good to mix things up a bit. In this lesson, I’m going to show you a pentatonic scale workout that helps you get the five positions of the pentatonic scale memorized and under your fingers, increases left-hand strength, delivers some great-sounding sequences and even includes some string skipping.
I had taught at this annual workshop a number of times and always looked forward to my week there, not only because I was able to teach a class of students who really wanted to learn guitar, but also for more selfish reasons. I liked meeting and learning from some of the other instructors and clinicians.