All about the world of GUITAR..!!


Advance Your Lead Guitar Solo Skills

Posted by sarabdeep Sunday, July 1, 2007

If you are like most guitarists, you probably, at one point or another have found it difficult to improvise solos on guitar. Even if you possess a high level of technique and good knowledge of music, sometimes your advanced skills (ironically) can be a detriment to self expression if used inappropriately or at the wrong moment. In a way, sometimes it is possible to restrict your own creativity by being “too advanced”. When you have many techniques, areas of knowledge and skills to choose from and are forced to make soloing decisions quickly, you may often end up making bad musical choices which distort your creativity. Fortunately, there are solutions to solving this problem.

I want to offer you several suggestions on how to make the most out of any soloing situation you may find yourself in and give you general ideas which you can apply right away.
You probably know that it is important to think of “melody first” when starting to solo, but I am going to tell you a bit more about how you can use melodic tools to establish a “basic framework structure” in your solos that will enable you to add faster parts later without taking away from self-expression.

So let’s imagine that you are about to start soloing. What should you do or think about first? Here are my recommendations:
1) Start simple. Don’t be tempted to shred too much in the beginning of your solo! This may seem like an obvious point to some, but I want to make sure we are on the same page. Think of melody first and treat your slower melodic lines as a “skeleton” and think of any faster fills as “fleshing out” the skeleton. It may be tempting to play fast too soon (especially if you are able to play fast), but when you begin any new solo it is much better to think of melody first.

Don’t get me wrong, I love to play fast and shred in my solos, but I always make sure that there is a melody in them first, before thinking about adding faster parts. Even if you choose to play faster licks, they need to “lead into something” and serve a musical purpose.

2) Practice “saying more” with only one note. When I was taking improvisation guitar lessons with my awesome guitar teacher Tom Hess, one of the things he had me practice was playing only one note, using only bends and vibrato as my phrasing tools. This one technique has done an incredible amount not only for my vibrato, but for my overall creativity and expression. In fact, sometimes I even use this technique in actual soloing situations when it is appropriate to create actual phrases with only one note (more on this later, in point 4 below).

3) To get the most dramatic effect possible from your solos, try to create a harmonic background that has a lot of extended chords (seventh chords, add note chords etc…). For example, in the solo that I improvise in the video mentioned above, I play over one of my most favorite progressions, iadd9 - VI7 - iv7 - ii half diminished add 11- V7 add 13. Because the chords in this progression are “add note” chords or seventh chords, soloing over them lends itself very nicely to melodic playing.
Record this progression yourself and you can hear what I’m talking about when you try to solo over it.

4) Take advantage of common tones. This is one of my favorite things to do when soloing melodically over chords that have a lot of notes in them (such as the progression used above). For example, the chords listed above offer several possibilities for common tones. Even if you did nothing else except hold one note (that is common to all chords) with heavy vibrato or bending a short distance away from that note while the chords change, you will still get a very cool sound. In the progression above, the note “C” is a chord tone in all but one of the chords, and you can take advantage of this when soloing to create passing tones, suspensions and other effects.

5) Repeat phrasing ideas in different octaves. It is a very cool thing to do that will help you get more expression out of shorter phrases, particularly if you make subtle variations in the phrasing using vibrato and other things.
After you have an identifiable melody in place (using ideas such as above), it is relatively easy to add more advanced things from that point such as, targeting melodic notes with a faster scale sequence, using arpeggios etc… The good news is that if you approach soloing in such a way, your “shredding” will become very appropriate and will add to your self-expression rather than take away from it.

I encourage you to give it a try and have fun with it!

Back to : Guitar Learning Menu

Holding the GUITAR

Posted by sarabdeep

Now when you have familiarized yourself with the parts of guitar, lets begin with the real stuff now.

Get yourself an armless chair, and take a seat. You should be sitting comfortably, with your back against the back of the chair. Slouching significantly is a no-no; you'll not only end up with a sore back.

I will suggest you that as of now follow the steps mentioned here to hold the guitar and later once you become comfortable, you can sit as per your convenience, else you may develop a bad habits to play guitar. As good guitar playing sometimes depends a lot on the posture of the guitarist as well.

Now, pick up your guitar, and hold it so the back of the body of the instrument comes in contact with your stomach/chest, and the bottom of the neck runs parallel to the floor. The thickest string on the guitar should be the closest to your face, while the thinnest should be closest to the floor. If this isn't the case, turn the guitar in other direction. Typically, a right-handed person will hold the guitar so the headstock points to the left, whereas a left-handed person will hold the guitar so the headstock points to the right and to play the guitar as a lefty would, you will need a left-handed guitar.

When playing the guitar sitting down, the body of the guitar will rest on one of your legs. In most styles of guitar playing, the guitar will rest on the leg farthest away from the headstock. This means, a person playing the guitar in a right-handed fashion will typically rest the guitar on his/her right leg, while someone playing the guitar in a lefty manner will rest it on their left leg.

* First put it at 90 degree from ground, in your lap.
* Then tilt the guitar towards you to about 30 degree
* Then lift the guitar from the head of the guitar upwards at around 30 degree again.

You are not supposed to bend towards the fret board. The fret board should be visible to you with the position you are sitting in. If its not visible then tilt the guitar more towards you to few more degrees you should not bend and bow your head to see the fret board. You should be in ease.

Now concentrate on your "fretting hand" (the hand closest to the neck of the guitar, when sitting in proper position). The thumb of your fretting hand should rest behind the neck of the guitar, with your fingers in a slightly curled position, poised above the strings, it should never see the face of the fret board, which means, that the thumb should remain at the back of the fret board, invisible to the fret board as much as possible.

The reason behind it is that if you become a regular guitar player, you can suffer from pain in your neck especially for people with more fat and flesh. Else also, you will find it later when you start playing good guitar, that this thumb rule basically help to play better guitar.

It is extremely important to keep the fingers curled at the knuckles, except when specifically instructed not to do so.

You should not put your left elbow to rest on your thigh or anywhere playing guitar. It should be floating.



















Tune Your Guitar

Posted by sarabdeep

We start tuning the guitar by beginning with the sixth string.

In order to begin tuning the guitar, you'll need a "reference pitch" from another source. Once you've found a source for this initial pitch (it could be a piano, a tuning fork, another guitar, or any number of other options), you'll be able to tune the rest of your instrument by using that one note.

Without a reference pitch, you can tune your guitar, and it will sound fine on it's own. When you try and play with another instrument, however, you will probably sound out-of-tune. In order to interact with other instruments, being in tune with yourself isn't enough. You'll need to make sure that your E note sounds the same as theirs. Thus there is a need for a standard reference pitch.

Lets take a reference to E note of a Piano

If you have access to a piano, you can tune your low E to the same note on the piano.

Look at the black keys on the keyboard of the image above, and notice that there is a set of two black keys, then an extra white key, then a set of three black keys, then a white key. This pattern is repeated for the length of the keyboard. The white note directly to the right of the set of two black keys is the note E. Play that note, and tune your low E string to it. Note that the E you play on the piano may not be in the same octave as the low E string on your guitar. If the E you play on the piano sounds much higher, or lower than your low E string, try playing a different E on the piano, until you find the one closer to your open sixth string.

Now that we've got our sixth string in tune, let's move on to learning how to tune the rest of the strings.

To get our other five strings tuned to that note, we need to use just a little bit of very basic music theory and you can see how we'll do that.

We know, from lesson two : Know Your GUITAR, that the names of the six open strings are E A D G B and E. We also know, to count up a string, and find the names of the notes on that string. Using this knowledge, we can count up the low E string (which is in tune), until we reach the note A, on the fifth fret. Knowing this note is in tune, we can use it as a reference pitch, and tune the open fifth string until it sounds the same as the sixth string, fifth fret.

Because this string is in tune, we can assume that this note, A, on the fifth fret, is also in tune. So, we can play the open fifth string, also an A, and check to see if it sounds the same as the note on the sixth string. We'll use this concept to tune the rest of the strings. Observe the graphic above, and follow these rules to fully tune your guitar.

Steps to Tuning Your Guitar

  1. Make sure your sixth string is in tune ( with the help of a reference pitch)
  2. Play the sixth string, fifth fret (A), then tune your open fifth string (A) until it they sound the same.
  3. Play the fifth string, fifth fret (D), then tune your open fourth string (D) until they sound the same.
  4. Play the fourth string, fifth fret (G), then tune your open third string (G) until they sound the same.
  5. Play the third string, fourth fret (B), then tune your open second string (B) until they sound the same.
  6. Play the second string, fifth fret (E), then tune your open first string (E) until they sound the same.

Often, new guitarists have a very hard time tuning their guitar. Learning to listen to pitches very closely, then fine-tune them, is a skill that takes practice. In teaching situations, I've found some people can't easily listen to two notes, and identify which is higher, or which is lower - they only know they don't sound the same. If you're having a similar problem, try this:

Listen to, and play the first note. While the note is still ringing, try humming that note. Continue to play the note, until you've managed to match the pitch with your voice. Next, play the second note, and again, hum that note. Repeat this - playing and humming the first note, then follow that by playing and humming the second note. Now, try humming the first note, and without stopping, moving to the second note. Did your voice go down, or up? If it went down, then the second note is lower. If it went up, the second note is higher. Now, make the adjustment to the second note, until they both sound the same.

This may seem like a silly exercise, but it does often help. Soon, you'll be able to recognize the difference in pitches without humming them.

I hope this has helped. As previously mentioned, it's extremely important to tune your guitar every time you pick it up to play it. Not only will it make your playing sound a whole lot better, but the repetition will allow you to conquer tuning your guitar quickly.






Back to : Guitar Learning Menu









One of the most popular techniques for lead guitar playing is tapping. Many guitarists have a good idea of how tapping works, and can play basic tapping licks. However, in order to begin to play larger, more advanced tapping patterns, you will need to be able to transfer from one string to the next. This will expand the amount of potential notes in your patterns. While playing patterns on the guitar and moving from one string to the next, you will always be playing either a Vertical or a Diagonal pattern. This can also be referred to as a “Vertical/Diagonal movement or transfer.”

By using both Vertical and Diagonal patterns together, you will be able to greatly increase the amount of area you can take up on the fretboard, and the amount of variations and sequences you can play with the same exact notes (played in a different fretboard position) or with different notes. In this article I will be looking at this concept from the perspective of expanding tapping technique.

So, what are vertical and diagonal patterns?

Vertical Patterns:

A Vertical Pattern means that when you transfer from one string to the next, you will be staying in the same fretboard position in your fretting hand. Since you are staying in the same fretboard position, this limits you to only be able to transfer in a vertical manner when you go from one string to the next.

Example 1: Vertical Pattern, A Major scale sequence (listen here)



When moving from one string to the next this pattern stays in the same fretboard position (12th position).

Diagonal patterns:

A Diagonal Pattern means that when you transfer from one string to the next, you will NOT be staying in the same fretboard position in your fretting hand. This means that you will be moving 1 or more fretboard positions away when you transfer to the next string of a pattern.

Example 2: Diagonal Pattern, A Major 7th string skipped tapping pattern (listen here)


Moving in a Vertical or Diagonal manner can also refer to the change of position made in the tapping hand while tapping patterns. In addition, note that some patterns can have stronger Vertical or Diagonal movement than others. Notice in this pattern that the tapping hand is constantly moving in a diagonal manner (strictly diagonal movement), while the frethand moves diagonal from the "A" string to the "G" string, and then back to the original fretboard position when going from the "G" string to the "E" string (containing both vertical and diagonal movement, making it less diagonal).


Making clean transfers from string to string:

2 things that many players struggle with is transferring from one string are:

- Connecting the patterns on each string together in a smooth controlled manner

- Keeping other strings or excess noise from sounding while transferring

If you want to play with clean technique while transferring from one string to the next, knowing how to correct these problems is knowledge you need to have.

Example 3: Combining Vertical and Diagonal Patterns (listen here)

The exercises in this article are only a small sample of what you can do with Vertical and Diagonal string transfers . This concept is applicable to guitar playing in a general sense, and covers anything you can do on the fretboard. It applies to non tapping techniques such as sweep picking, alternate picking, economy picking, directional picking, etc. Make sure to experiment on the guitar by finding different fretboard positions to play the same scales or arpeggios. There are endless combinations of notes and note patterns that can be achieved by combining vertical and diagonal patterns together. The more you can mix and match these patterns, the more command you will have over the fretboard.




There are 5 main challenges that electric guitar players must overcome in order to learn and master guitar technique. These 5 guitar technique challenges are divided into 3 groups:

1. Awareness

2. Sounds you 'want' to hear (the notes you are attempting to play cleanly)

3. Sounds you do ‘not’ want to hear (the sloppy sounds you sometimes hear such as unwanted string noise)

Lets have a look at the first two groups.

Focused Awareness - Many guitar players are not fully aware of every imperfection in their guitar technique. Some of these players do sense that 'something' may be wrong, but are not sure about exactly what their specific guitar technique problems are. Obviously, you cannot effectively correct a technical problem until and unless you know exactly what it is.

There are 2 main ways you can approach this:

1. Record yourself playing a something you want to improve on. Listen back (carefully) at 25%-33% speed so that you more easily identify any unclear notes, excess string noise, scratchy noises between the notes, inconsistency in your pick attack, etc.). You may or may not be able to hear everything on your own (many people simply can’t yet) and you may or may not be able to ‘correctly’ identify the cause of each imperfection present in your guitar playing. If you can that’s great, but if you’re not sure then…

2. Work with a guitar teacher to evaluate your playing and use that feedback to begin the process of making any necessary changes to your technique. Not only will a good teacher help you to play clean by telling you 'what to do', but also because he will hear problems that you may not really be hearing.

If you have an excellent ear, you should be able to identify the fine details of your problem, if not, work with your guitar teacher.

Articulation - The First Half of Two Hand Synchronization

The second step is to focus on your articulation. Articulation is the first half of two hand synchronization. To play cleaner you need your hands to fret and pick each note at precisely the same time (simultaneously).

There are 3 critical things you need to do to improve your articulation:

1. Use a clean guitar tone when practicing (no distortion and NO effects!). Distortion and effects will mask any imperfections in your articulation, so do not practice with them when focusing on "Articulation" (the rules will change when we talk about "The Release" in the next section).

2. Play loud enough so that you can truly hear what is happening as you are playing

3. When you are practicing something slowly MAKE SURE that you do NOT change ANYTHING about how you approach and articulate each note. Fact is, most guitar players actually play very differently when playing slow compared to when playing fast. If you change anything in the way you are articulating the notes (such as playing with a lighter touch, using a weaker or stronger pick attack, changing your hand position, pick angle etc.) you will NOT fully improve your technique because the sound you make when playing will be different and therefore harder to detect and identify any problems with your articulation.

The Release - The Second Half of Two Hand Synchronization

The third step toward cleaner playing is ‘the release’. For most guitar players 'the release' is the hardest problem to detect and correct. That’s generally because once players articulate a note cleanly, they ignore what immediately comes after (small sloppy noise in between the notes or 2 notes slightly ‘bleeding’ together.

And practicing your guitar with a ‘clean’ tone (no distortion) - as described above when focusing on articulation – almost always masks problems in the release phase of playing a note. This is why many people think their guitar playing sounds pretty clean when practicing without distortion but sense something is wrong when later playing with distortion… but they are not sure what the problem is… or worse, they actually do not hear the problem at all (but other people do). This is why focused awareness is so critical.

Some absolutely necessary steps toward correcting problems with ‘the release’.

1. Practice your guitar WITH distortion (but NO EFFECTS!) now. (Notice, this is the exact opposite advice I gave you to identify and correct ‘articulation’ problems above).

2. Again you need to play your guitar loud enough to hear precisely what is coming out of your amplifier (other noises in the room can mask the subtle things you need to be listening for).

3. Practice slow (but as stated above, do NOT change ANYTHING in the way you articulate OR RELEASE a note compared to when you are playing fast!).

4. Listen for any subtle noise in between notes (you will probably notice a ‘scratchy sound’ just before you play the next note). If you have a hard time hearing anything then record yourself and listen back to the recording at 1/4 or 1/3 speed (I guarantee you will hear this short scratchy sound now!)

5. Now that you know what to listen for, you will probably notice it all the time whenever you listen very carefully… and THEN you are ready to being to correct the problem…

Fact is there can be several reasons why your guitar playing may not be clean during the release of a note, but the most common cause is this: When you release a note your brain is probably telling your finger to ‘lift off’ (make an upward motion away from the string you just played). This can cause all sorts of nasty technique problems (fatigue, slower guitar playing speeds, and sloppy guitar playing… among other things).

The solution is to stop your brain from sending your fingers instructions to ‘lift off; of each note and instead to simply ‘relax’. When your finger relaxes it will naturally, immediately and effortlessly ‘release’ the note you just played. There are 2 main benefits to this:

1. Because the motion is effortless, you can play faster and for a much longer time (and most importantly) with greater ease.

2. Because your brain does not give the finger the instruction to make a ‘lift off’ motion this actually prevents your finger from moving (or preparing to move) prematurely (which is a major cause of the sloppy ‘scratchy sound’ that may be present in your guitar playing.

It is now very important to realize two things. First you CAN solve these problems and improve your guitar technique. Second, it won’t happen over night, this will take time and some consistent practice (possibly over several weeks or longer). But the benefits of being able to play guitar clean are well worth the patience required.

If you are still suffering from sloppy guitar playing, the cause is likely unwanted string noise. For some guitar players, improving guitar technique may have nothing to do with how they are playing the notes they 'want' to hear. The sloppy noises we sometimes hear are caused from the notes (strings) we do 'not' want to hear.

If you are articulating the notes you want to play accurately, but you are still hearing sloppiness in your playing then this article will greatly help you to improve your guitar technique by eliminating string noise.

To effectively mute guitar strings we do not want to be heard we need to use two totally different sets of muting techniques: One to stop unwanted noise from LOWER (in pitch) strings; and another to mute the higher (in pitch) strings.

Muting The Lower Strings

Many guitar players use the palm of their picking hand to mute lower strings. Although this technique is pretty good at keeping most of the lower strings quiet there are two big disadvantages with this technique.

1. Muting with your palm will cause a slight delay in the muting of a string which has just been played a moment before. This delay causes brief moments of string noise. This happens for 2 main reasons:

a) The flesh of your palm is much softer than the side of your thumb and therefore takes more time for your palm to actually stop the string from sounding.

b) It is not easy to get your palm in the perfect position to consistently and reliably mute strings that are adjacent to the one you are playing in all playing situations.

2. When you use your palm to mute noise, the natural position of your guitar pick (when not playing) is now away from the strings. This is what I call your "Natural Point Of Rest".


When your pick is at rest up and away from the strings (in between playing each note), it causes your picking hand to work harder and significantly increases the chance for sloppy playing, string noise and slower picking speed.

A great solution to these problems (and to improve your guitar technique) is to mute with your picking hand thumb for all lower (in pitch) strings like this.


Notice that the "Natural Point Of Rest" when using thumb muting is now ON the strings (as shown in the picture above). This greatly reduces wasted motion and enables you to pick faster with much less effort.

Muting The Higher Strings

Many guitar players are totally unaware of the possibilities for muting string noise from the higher (thinner) strings and this part of their playing is often one of the causes of sloppy playing.

There are actually two main techniques for muting noise from the higher strings that I teach to my students when training them to improve their guitar technique.

The first technique involves using the underside (the fingerprint side) of the fretting hand's index finger. This part of your finger is used to "lightly touch" the higher strings that you want to mute. The key word in the last sentence is "lightly". You do not want to press down so hard that these notes begin to sound like regular fretted notes. Simply rest your finger on them thus preventing them from sounding.


In addition, you can also mute these higher strings by using the unused fingers of your picking hand (fingers that are not being used to hold the pick, such as middle, ring and pinkie).

This extra layer of muting ensures that there is no possibility for the strings higher than the one you are playing to ring out and add sloppy string noise into your guitar playing.

When these ideas are combined with the string muting techniques of muting the lower strings, your playing will instantly become much cleaner than before. Now, every time you play, the only guitar strings that will be making sound are the ones you are playing!

If you have been working hard to perfect your guitar technique and two-hand synchronization then you already know that if your articulation/synchronization is developed well but your muting is not, the result will still be sloppy guitar playing. So, when trying to improve your guitar technique keep in mind the 5 areas discussed here :

1. Focused Awareness

2. Articulation - The First Half of Two Hand Synchronization

3. The Release - The Second Half of Two Hand Synchronization

4. Muting The Higher Strings

5. Muting The Lower Strings





Back to : Guitar Learning Menu






KNOW your GUITAR

Posted by sarabdeep

The Beginning

The first and the foremost step in learning guitar is to know IT. You should be comfortable while learning, reading and talking about it for which you should know the name of all the parts of the guitar.

Below are some diagrammatic description of the different parts of the guitar (Both Electric and Acoustic) :



At the top of the guitar in the illustration is the "headstock", a general term which describes the part of the guitar attached to the slimmer neck of the instrument. On the headstock are "tuners" or"pegs", which you will use to adjust the pitch of each of the strings on the guitar.


At the point in which the headstock meets the neck of the guitar, you'll find the "nut". A nut is simply a small piece of material (plastic, bone, etc.), in which small grooves are carved out to guide the strings up to the tuners.

The neck of the guitar is the area of the instrument you'll concentrate a great deal on: you'll put your fingers on various places on the neck, in order to create different notes.




The neck of the guitar adjoins the "body" of the instrument. The body of the guitar will vary greatly from guitar to guitar. Most acoustic and classical guitars have a hollowed out body, and a "sound hole", designed to project the sound of the guitar.

Most electric guitars have a solid body, and thus will not have a sound hole. Electric guitars will instead have "pick-ups" where the soundhole is located. These "pick-ups" are essentially small microphones, which allow the capture the sound of the ringing strings, allowing them to be amplified.




The strings of the guitar run from the tuning pegs, over the nut, down the neck, over the body, over the sound hole (or pick-ups), and are anchored at a piece of hardware attached to the body of the guitar, called a "bridge".



Once you are aware of the parts of the guitar, now you should know the fret board.

Fretboard is divided into number of frets which are identified with their numbers starting from NUT towards Sound Hole,i.e. the fret just next to the NUT is numbered as 1st fret and so on.

You should keep this in mind that the word "fret" has two different meanings when used by guitarists. It can be used to describe:

1. The piece of metal itself
2. The space on the neck between one piece of metal and the next

Have a look to the below neck chart for more clarity.



Ideally one should go for acoustic guitar when one begins to learn it, rather than starting with electric guitar straight away.






















Playing a Scale

Posted by sarabdeep

To become skillful on the guitar, we'll need to build the muscles in our hands, and learn to stretch our fingers. Scales are a good, albeit a not very exciting way to do this. Before we start, look at the diagram above you and understand how fingers on the "fretting hand" (the hand that plays notes on the neck) are commonly identified. The thumb is labelled as "T", the index finger is the "first finger", the middle finger is the "second finger", and so on.


The above diagram may look confusing...but, it's one of the most common methods of explaining notes on the guitar, and is actually quite easy to read. The above represents the neck of the guitar, when looked at head on.

The first vertical line on the left of the diagram is the sixth string. The line to the right of that is the fifth string. And so on. The horizontal lines in the diagram represent the frets on the guitar... the space between the top horizontal line, and the one below it is the first fret. The space between that second horizontal line from the top and the one below it is the second fret. And so on. The "0" above the diagram represents the open string for the string it is positioned above. Finally, the black dots are indicators that these notes should be played.

Start by using your pick to play the open sixth string. Next, take the first finger on your fretting hand (remembering to curl it), and place it on the first fret of the sixth string. Apply a significant amount of downward pressure to the string, and strike the string with your pick.

Now, take your second finger, place it on the second fret of the guitar (you can take your first finger off), and again strike the sixth string with the pick.

Now, repeat the same process on the third fret, using your third finger. And lastly, on the fourth fret, using your fourth finger. There! You've played all the notes on the sixth string. Now, move to the fifth string... start by playing the open string, then play frets one, two, three and four.

Repeat this process for each string, altering it only on the third string. On this third string, play only up to the third fret. When you've played all the way up to the first string, fourth fret, you've completed the exercise.


Points to Note :

  • When playing a note, place your finger at the "top of fret" (the area of the fret farthest away from the headstock). This will produce a clearer sound.
  • Try to use alternate picking while attempting this exercise. If this is overwhelming, try using only downstrokes with your pick, but learn properly once you've gotten used to the scale.
  • Once you've finished the scale, try playing the scale backwards, by starting at the first string, fourth fret, and playing all notes in exactly the reverse order.









Overview

Posted by sarabdeep

Internet is a vast source of guitar lessons, tutorials wherein you can learn about how a song can be played, what are the chords and tabs for a song, and much more. But there are few basic things which I always had to struggled when I just began to learn playing guitar. I dont say these things dont exists on the internet but what I feel is that there could be a better way for a beginner to begin with playing guitar.

Here at http://www.learnplayingguitar.blogspot.com, I have tried to actually make guitar learning EASY, especially for those who dont even know the basic things about playing guitar.

I will suggest my readers, for those who have just begun with guitar playing, to follow the lessons in the same order in which I have mentioned and I hope you find it beneficial for you.

What is required from you is :
> A guitar in a good condition (Acoustic).
> A guitar pick, preferably a medium gauged pick.
> And, a chair without arms.

Offcourse, some good amount of patience too is required.























Search