With that being said here is an interesting, unique and cool major scale exercise to help you learn and eventually master the fret board.

This exercise is based on the six notes of any major scale played in three octaves up and down the neck starting on different notes of the scale in order diatonically. This exercise is played in the key of F major. It is actually moveable but for the constraints of space we will use F major. The first six notes of the F major scale are F, G, A, Bb, C, and D respectively. We will play these notes in that order in three octaves across and up and down the neck. Once that is done we will then play the next six notes of the major scale starting on the second note. These notes would be G, A, Bb, C, D and E respectively. We will play these in three octaves across and up and down the neck also. We will follow this series and pattern until the last note of the scale. You will notice that each series has the same symmetrical finger pattern for each octave. But don’t let those similar patterns deceive you. This is a very challenging exercise for a few reasons. Firstly, the rhythm pattern is very difficult, sixtieth note triplets played at about 120 bpm. I highly recommend NOT playing with a metronome at first until you get the stretches and proper fingerings down. After that is accomplished I would then start with a metronome slowly gradually building up to a fast speed. Secondly, although the finger pattern are similar for each note group, they do change as you switch the starting note of each phrase. So you have to really think about what you are playing quickly at a fast tempo. If you really want to take this exercise to the next level, say each note as you play them. Your significant others, parents, roommates and pets may think you are crazy but hey you will be learning the fretboard in an expeditious manner and becoming the master of your chosen instrument so its all relative! After you master this exercise in F major, move it around to other major keys and when you are jamming and soloing, remember this lesson. These phrases will sound killer with an amp on 11 and a wah pedal. Just saying.

Now get out there and pick up that guitar and play, just like yesterday. As always, any feedback and comments are welcome

Examples 1 and 2 are a major and a natural minor scale respectively over three octaves spanning from the 6th string to the 1st string. At first look it seems harmless enough but when we analyze it, this exercise presents a few challenges. The rhythm starts out as triplets played legato with hammer ons. But in the second measure the rhythm changes to sixteenth notes played legato with the pinky slide into the next triplet. Although this may seem simple, it is not easy.

This little exercise works on accuracy. I suggest playing without an amp so you can really dig in and hear those legato phrases and slides. Make sure that the dynamics of every single hammered note and slide are even. It helps to improve your rhythm playing. The changes from triplets to sixteenths are really challenging especially when played with a metronome. Hint hint. This exercise also helps to improve your position switching. The fingerings change with some of the phrases so you will have to think and look ahead to the next phrase to be accurate. One of the overlooked aspects of lead guitar playing I stress with my students is knowing the fretboard like the proverbial back of your hand. This exercise will also help you to connect the fretboard from one end to the other and break you out of “the box” positions we all get so comfortable with. And last but certainly not least, you can incorporate a sections of these exercises into your lead work for some added flair.

These examples are in G major and G minor respectively but since they are moveable scales I suggest you learn then all over the fretboard using the notes on the 6th string as the roots. Practice them with a metronome of course.

Now get out there and pick up your guitar and play, just like yesterday people. Thanks again for reading and as always any feedback is always welcome and encouraged.

RR

In this blog I would like to discuss one of my favorite exercises to learn the fretboard and add a little mojo to your lead playing.

Before we begin, let me define what an arpeggio is. An arpeggio is a broken chord. We can play a chord 2 ways: the first way is to play all the notes at the same time and the second way is to play the notes one at a time consecutively. This latter is called an arpeggio. The following exercise is all the chords/arpeggios in a C major scale over the the first two strings. One of the things I stress to my students is to learn the fretboard like the back of your hand, maybe even better. This exercise will definitely expedite that process and it sounds really cool to boot.

Lets discuss the chords in C major. All major scales and keys have chords that are built by stacking the notes in the scale in thirds, or every other note if you wish in a three note sequence called a triad. The tonality of each chord is denoted with a roman numeral. For example the first chord in the key of C major is C major (C, E,G). This is called the I chord. The second chord is D minor (D F A). The reason this is minor is because the intervals between these notes spell out a minor triad. This is called the ii chord. The third chord is E minor (E G B). This is called the iii chord. The fourth chord is F Major (F A C). This is called the IV chord. The fifth chord is G major (once we extend the chord out the fifth chord becomes dominant but since we are dealing with triads it will be major) and is spelled (G B D). This is called the V chord. The sixth chord in the scale is A minor (A C E). This is the vi chord. The seventh chord is a B diminished (B F A). Again, the reason tho is diminished is because the intervals between these notes spell out a diminished chord. This is the vii chord. The sequence of chord tonalities is the same for ALL major scales. So in short in any and all major scales the I, IV and V chords are major. The ii, iii and vi chords are minor and the vii chord will be diminished.

This exercise will be confined, for now, to the first two strings. We begin with the licks on the C chord and go up the fretboard diatonically playing every broken chord in the scale from the first fret to the 12th fret (see example 1). Keep the rhythm strict and play as always with a metronome set to about 100 bpm and play forwards and backwards. For the next exercise we play a different rhythm variation just to spice it up (see example 2). Play it forwards and backwards with the metronome at 100 bpm again.

This little exercise works on many different aspect of your playing. First of all, you will learn the fretboard in a quicker, less boring manner. You will learn where all the notes in a C major scale are. Secondly, if you are working diligently with a metronome you will become more accurate with your rhythm,  scale work and lead playing. And thirdly, you will add another dimension to your leads to hopefully develop your own style. This is just another tool in your musical toolbox to help build something beautiful and memorable with the guitar. As lead guitar players, we all need to be able to draw from as many influences, musically, non-musically and fretboard wise to become stylistic. And speaking of stylistic, this exercise is in the key of C major and its relative minor is A minor. Try a few of these arpeggios over the chord changes to Stairway To Heaven next time you are jamming out with your friends. Sprinkle in some minor pentatonic licks along with it and you are definitely on the right path to finding your own unique voice on the instrument.

Keep in mind that all these arpeggios are just in one key, in one location on the fretboard. There are hundreds maybe thousands of possibilities in different keys and locations all over the fretboard. Try and come up with a few more on your own!

Until next time. Now get out there and get at it…

RR

There are 4 types of chords that are built from the major scale and those chords are major 7th’s, minor 7th’s, dominant 7th’s and diminished. Each of those chords has it’s own construction but the common thread through all of them is the fact that they will all be constructed from the first, third, fifth and seventh notes from their respective major scales. In short, the 1, 3, 5, 7.

For these examples we will be in the key of G major. The first arpeggio will be a major 7th arpeggio based off a G major 7th chord. The notes are G, B, D and F#. See example 1.

The next arpeggio will be a minor 7th  based on a minor 7th chord. To create a minor 7th chord we take a major 7th arpeggio and lower the 3rd and 7th pitches so the minor seventh arpeggio is now G, Bb, D and F. See example 2.

The next arpeggio will be a dominant 7 based on a dominant 7th chord. To construct a dominant 7th chord we take a major 7th chord and lower the 7th pitch so the dominant 7th arpeggio will be G, B , D and F. See example 3.

The final arpeggio I will discuss is diminished based on a diminished chord. To construct a diminished chord we take a major 7th chord and lower the 3rd, 5th and 7th pitches so the diminished arpeggio will be G, Bb, Db and F. See example 4.

The fingerings for these arpeggios may be a bit unorthodox but that is the point.  This exercise will definitely get your fingers moving in some new directions as well as help you grasp a greater understanding of the fretboard and add some color to your lead work! As I have stated before in pervious blogs, our ultimate goal is to find our own unique voice on the instrument. Playing these arpeggios will absolutely help you on the path. Figure out these arpeggios for all the chords with the root notes found on the 6th string and you will be well on your way.

But reading about it isn’t going to make you a better player so get off the computer and pick up that guitar and play. Just like yesterday. As always I thank you for checking out my blog.

RR

Have Your Musicianship Together: Auditions can be very daunting and intimidating. For me I want to go into that situation prepared for anything. The more prepared you are musically, the more confidence you will have and it will show through your demeanor and playing. I once auditioned for a cover band. I asked the band leader for their playlist and which songs they would like me to learn. For a cover band gig, usually only three songs from the list will be enough. They should know after three songs if you have it together. You want to show that you are a team player and that you are joining them, not the other way around so to me it is important to learn the songs that the established band wants you to learn, not your personal favorites from the list. I did just that and got the gig which lasted about 5 years. A few years back, I auditioned for an original band called The Lights. They asked me to learn 5 songs from their EP at the time. Not only did the guitar parts but I also went over some of they keyboard and bass parts. I wanted them to know that I really enjoyed and appreciated their music as a whole, not just the guitar work. And that I did my homework. Needless to say, I got the gig. When The Lights went in to record a full length CD, I went though all the songs in such detail that when I walked into the studio to do my parts, I had a notebook filled with what I wanted to record and where I wanted then to be, right down to the overdubs. This saved the engineer a lot of time and headaches and it saved the money guys a lot of cash because I didn’t waste their time trying to figure my parts out when I got there. Always remember time=money in this and in any business.  My preparedness was so appreciated that the engineer recommended me to other musicians for some free lance session work because he knew I had my musicianship together. Keep in mind that you are just one guitar player in a sea of hundreds of players trying to get the same gig so you need to do something to separate yourself from the pack. Talent and great playing are not enough in these situations unfortunately. Preparedness along with your playing will get you there.

Appearance Matters: Is it shallow and vain to make such a statement? Absolutely and emphatically YES! Is it the truth? Absolutely and emphatically YES! Now what I mean by appearance is not having the perfect body with ripped biceps and six pack abs. What I mean by appearance is dressing professionally. How can we expect anyone to take us seriously as musicians if we don’t take ourselves seriously? At a gig, on stage, a clean nice button down or tshirt with a nice pair of dark jeans will do. When I am in the audience, I hate to see musicians who look like they just changed the oil in their car and walked on the stage. I feel it is disrespectful to the audience to not present yourself in the best possible light. For more upscale gigs, a tucked in shirt and dress slacks are a must. I am playing classical guitar at a few private events this year, I will be either wearing a two or three piece suit or a tuxedo. When I am “working” as a music therapist I will be in a shirt, tie and slacks. You will be surprised how others treat you if you dress appropriately. You will be taken more seriously and will be given a higher degree of respect as a professional musician. I can say with utmost certainty that I have gotten many a job and call back due to a clean and pressed dress shirt.

Treat It Like A Business: Most musicians tend to forget that its called the music business. If you can, have all the details of the gig worked out beforehand. In a perfect world I would like to say that all club and bar owners will honor their side of a deal with a handshake and smile. We all know this world is far from perfect. Try hard to have the exact specifications of what your employer expects from you that night and what you expect from your employer. I cannot stress enough the importance of having things written down and signed in contract form, especially your fee for the night.  I know musicians on the circuit who if they are playing for free drinks and french fries that night, will have a contract written up for the bar owner to sign stating exactly that! I always wondered why the big bands have these ridiculous riders in their gig contracts (The infamous brown Van Halen/M&M story comes to mind). The reason is so that the promoters read the contracts in detail. Why do the artists want the promoters to read in detail? To make sure that the artist gets their due pay for the gig. Always be professional at gigs and sessions. If you are working at a venue for $100.00 for the night don’t drink away $200.00 at the bar. Yes I have seen that happen. You just paid the club owner to play your own gig! They just got over on you. You are there on business. If the club is cool, go back on your own time. At the end of the night of get your money, thank the owner and try and book another one and go home. Try and have business cards made up and at the ready at every gig you play. Don’t try and promote other gigs your are playing in the future without the permission of the bar owner that night. Be gracious. When I play classical gigs, I have business cards ready on my music stand to hand out to anybody who wants my services in the future. I also carry business cards during session gigs and when I teach. Hey, you never know.

In this business and in life, you will be treated in the way to demand to be treated. You will go as far as your attitude will allow you to go. Have low expectations and your will get low results. have high expectations for yourself and the sky is the limit!

Now get out there and make it happen y’all…

RR

1. LISTEN BEFORE YOU PLAY: Sometimes I’ll start a profession and the student will just jump in and start playing licks. I always stress to them to listen for a few bars to what the chords sound like, especially if you are unfamiliar with the structure. By listening first you may be able to hear something you wouldn’t have heard before such and a rhythmic or melodic motive that you can build a lead line from. 

2. REST, SILENCE AND RHYTHM: Let the notes breathe a little bit. Slow the phrase down and maybe stop playing all together. The silence in music is just as important and the music itself. The silence can draw the listener in. Holding a note for a longer time can do the same. The use of silence and resting will make the scale sound less like a scale if you catch my drift. Here is a great example: play a descending D major scale. Pretty boring stuff. Now alter the spacing a bit and change some of the rhythms up, hold certain notes longer and shorter and next thing you know you are playing one of the most recognizable melodies of all time, Joy To The World.  That is what we are shooting for in lead playing, making something ordinary into something special. And that’s what separates the good from the great.

3. ACCENTUATE CERTAIN NOTES: As I stated above, I referred to certain lead work and one big run on sentence. Is there anything more annoying than hearing a speech in which the speaker has no articulation, speaks without pauses and is monotone? Probably not. The same can be said about lead guitar playing. Think of the phrase “I love you”. Three short powerful words but if I accentuate and put emphasis on different words, their meaning drastically changes. “I love you”. “I love you”. “I love you“. If you say those words out loud using the accentuations written you will hear the difference. The meanings of the phrases change. You can do the same in your lead playing. You can stress a few of the notes in a phrase by making them louder or softer, longer of shorter. If you do so, the whole context and meaning of the phrase will change into something unique unto yourself. You can play one phrase faster and then in the next phrase play something slower and softer holding a few of the notes. The ideas are limitless.

4. LISTEN TO OTHER LEAD GUITAR PLAYERS: This seems like a no-brainer but you would be surprised how many young guitar players who want to play lead never heard of David Gilmour. You need to listen to music is which the art of  lead guitar is prevalent. It is so important to immerse yourself in the music of other lead guitarists that have come before us and are here now! You get the creative juices flowing and draw inspiration from them. The examples are too numerous to mention but just a few examples are Jimi Hendrix, Jimmy Page, Eric Clapton, Eric Johnson, Slash, Eddie Van Halen, Billy Gibbons, Joe Bonamassa etc etc etc…

Now get off the Internet and get to work and one last thing: I would like to wish everyone a Merry Christmas, Happy Holidays and a Happy and Healthy New Year and I would like to humbly thank all of the readers who have checked out my blog section over the past few months. And a great thanks to the staff at guitarworld.com especially Damian Fanelli for this opportunity. I get to write about playing guitar. Who has it better than me? Nobody that’s who….See you next year…

RR

(1) Have A Goal Or Vision In Mind: It is important to have an idea of where you want to go as a guitarist and have clear cut goals in mind. The goals could be small when you first begin such as learning the first string accurately from the Mel Bay Guitar Method Book One or bigger goals as you progress such as memorizing all the guitar parts from The Who’s Quadrophenia. Not one goal is more important than the other. It is just different levels of progress which will increase with more practice and dedication but it all starts with a clear vision. If you don’t know where you want to go, then the path you take really doesn’t matter all that much.

(2) Use A Metronome: Think your rhythm is good? Play with a metronome and see how much work you need. I cannot stress the level of importance for a guitarist and a musician in general to having a good sense of rhythm and timing. You will curse the day you ever set eyes on one, but the use of a metronome is invaluable to your musical growth and progress. Practicing with one makes all the difference in the world and you will not regret it!

(3) Seek Out A Great Teacher: Much like a metronome, having a great teacher will make a big impact on your overall musicianship and outlook towards the guitar and music in general. Your teacher should inspire you, push you, twist you and nurture you all at the same time. A great teacher will adapt to your personality and level of ability while still encouraging you to find your own voice and style on the guitar. Remember a great teacher will show you where to look but not what to see. I always tell my students that I can show them the tools they need to build something great but I can’t show them what to build. Thats up to them.

(4) Perfect Practice: This goes without saying but it needs to be said. Al the great lessons that you can possibly learn from the greatest teachers ever don’t amount to anything if you don’t practice. Set up a consistent practice schedule and do the homework. Make a list of questions to ask your teacher at the next lesson that stem from the homework you have done already. The key is consistency and hard work. But here is the secret: in my experience, if you are putting the work in and setting goals and achieving them and reaching new plateaus, this will not feel like work at all. It will be a joy to pick up your guitar and practice. You will have that hunger to learn because you are getting better and moving forward. But this will never happen without consistent time and effort.

One thing is for sure: you will never become a better guitarist by reading about it. So get off the computer, stop reading this blog and get to it! Any feedback or comments are always welcome.

RR

Foolproof Everything. At gigs there are certain circumstances that occur that are really out of our control. For every other circumstance, we foolproof. Always carry extra batteries for your pedals, a backup guitar or two, extra strings, extra patch chords etc. Make sure that your setup works before you pack it up and get to the gig.  Bringing a small backup amp would probably be a good idea also. Stock up on extra fuses and tubes to take with you also. It may seem silly but try and bring a small fan with you. I have played shows where it was ungodly warm in the venue and having a cool breeze on you at all times makes all the difference. And lets face it, if you have long hair it looks cool too. It is for practical and aesthetic purposes. Confirm everything with the person who is booking you that night. Make sure you know when the start time is, the load in time, how many sets you will be playing, what the pay is going to be, if the drinks are free etc before the gig if possible. You don’t want any other surprises that night so be diligent and get these things established, in writing if you can.

Get Rid Of The Problem. If the nightmare at your gigs isn’t faulty gear, less than perfect working conditions or a jerk of a club owner and is a member of your band, adress the problem immediately, if not sooner. Nothing will ruin a night or a bands reputation quicker that a negative influence in the band. If a member of your group brings their issues to the gig they have to go. Bottom line. These issues include: partaking of various substances that render them unable to finish the gig, belligerence and a negative attitude, rock star and diva-like egos and chronic lateness. remember this is called the music business. If you wouldn’t act a certain way at a “real” job then you shouldn’t act that way at a gig and that behavior in my opinion for a musician to have is totally unprofessional. Your attitude and how you treat yourself at shows and with everyone around you is what separates chicken you-know-what from chicken salad.

This Too Shall Pass. As I wrote before, at gigs and in life, there will always be circumstances beyond our control. It is how we respond to them that defines us as musicians and as people. In the midst of a stressful show try and ask yourself if this situation will matter 5 years from now. The answer is usually no. The key is to use that negative and turn it into a positive. Usually that means to never let that situation happen again or to nip it in the bud before it starts. If the same negativity creeps in at every gig, you have to change your approach or do things a bit differently. Gigging should be fun and uplifting, not a chore. No matter how bad a gig may seem always remember that this too shall pass. One time I was given the privilege of performing classical guitar at a Master Class taught by a very successful guitarist. Midway through my piece, I forgot what I was playing. Totally froze. All that preparation and practice went out the window. When I saw my teacher the next week, he gave me his feedback about my performance most of which was positive, didn’t even mention the fact that I forgot half the piece. He looked at me smiled and said, “stuff like that happens, remember no matter how you played, the sun still rose this morning”. I have carried those words with me everywhere I go. So remember, no matter how bad it gets, the sun will rise tomorrow. Who knows? Maybe one day you will even get to write about your experiences in a well respected guitar publication. Now get out there and play!!! Feel free to share any of your gigging nightmares. Comments and feedback are always welcome.

RR

Thanks again.

Accept Uniqueness: Not very student is the same. Each lesson and approach has to be tailored to meet the students individual needs and personality. There are some of my students that are far more sensitive than others so corrections and criticism have to handled with kid gloves. Other students aren’t so sensitive. I used to find this out the hard way. Now I try and gauge them through conversation aside from the lesson. I follow my instinct and I am usually correct. Encourage the student have their own unique personality and let it shine through in whatever they are playing and learning.

Be Educated: Know as much as you possibly can about music and your instrument or instruments. I cannot stress this enough. The more knowledge you have the better teacher you will be. Thats the bottom line. Get degrees from universities. They are credibility and proof that you put the time in to be better at your craft; the same thing you are asking your students to do. Learn how to read music. Again, this is a no-brainer for me. It amazes me how many guitar teachers I have met who teach students without having the basic reading skills necessary for a musician. Are they effective teachers? More than likely they are. Are they limiting the students potential? Yes, they are because they themselves are limited. Show me a brilliant guitar player who cannot read music and I will show you 20 that can.

Be Flexible: If a student has the necessary skills to deviate from your lesson plan and try to play something they really want to play by all means do so. On more than one occasion, some of my piano students wanted to play something other than the Bach minuets or The John Schaum lessons I was showing them. They wanted to give something more contemporary such as The Beatles or a movie theme a shot. I always negotiate a compromise: learn this and we can learn whatever you want, given the appropriate ability level of course. This approach always works. It gives the students that extra incentive to get through the important lesson I have for them to move on to that Adele song they have been dying to play. Always honor your promise. You never want to say to a student, ” thats not on page 35 of the red book so we can’t do it”. One of my guitar students wanted to learn Holy Wars (The Punishment Due) from Megadeth about 4 lessons into our time together! It was way beyond what I thought he was capable of so I threw a challenge and compromise out to him: memorize what I have taught you over the past 4 weeks and play it perfectly and we will go for it. He did it and we attempted the song. It was a struggle for him but he pretty much worked his behind off and for the most part got it. I then used that experience as a springboard of sorts to do other challenging songs. Flexibility will keep you and your students more interested  in the lessons.

Be  Authentic: If my students know one thing about me it is this: there is nothing I wouldn’t ask them to do that I haven’t done already. If I ask them to memorize the changes to Stairway To Heaven, I have done it until I was blue in the face. If I ask a student to play three octave scales in all keys, I have done it a million times. Students can see right through you. If you haven’t done your homework, they will know. If a student asks you a question in which you are not sure of the answer, be honest, look it up and have it ready for the next lesson.

Lastly, teaching will definitely help your own playing. Teaching a student a lead part or a chord progression will invariably help your ear. Breaking a guitar lead down to its basic phrases will definitely help you see how to construct an effective lead break and that can only further your own playing.  When a student asks me how to play a certain phrase, it forces me to think about the notes I played and why I played them. Deconstructing your own playing will reinforce what you already know. As Joseph Joubert said, “to teach is to learn twice.” Remember, you are here to give your students a more effective and beautiful musical experience. The more tools you have at your disposal, the more likely you will do so. Now get out there are teach your children well!

Thanks for reading and any feedback, questions or comments are certainly welcomed.

RR