Guitar String Noise

Controlling a cranked up electric guitar from excessive Guitar String Noise when playing, can be a challenge of itself.

Just the fact that it’s an electric guitar can cause all kinds of strange noises that you wouldn’t encounter with an acoustic guitar.

However, the approach to keeping the guitar free of excessive noise when playing is pretty much the same for both.

The real secret sauce is within the your playing technique, which includes both left and right hands. Simply understanding this will get you on the right path quickly.

Since having been a guitar teacher for over twenty years, I’ve had hundreds of questions asked about how to keep excessive Guitar String Noise down during lead guitar playing, as well as rhythm playing.

Most of the time my students notice things that I’m doing and ask me how or why I do those things. It was then that I began to be aware of what it was I was doing to avoid all the excessive noise.

Eliminating Guitar String Noise Happens Within Your Left and Right Hand Simultaneously.

I would see my students struggling with this time and time again, and soon realized that the things I was doing to avoid this problem, was something I developed over time sub-consciously. Meaning, I don’t think about it as I’m playing. It’s just something that became part of my playing over the years.

I believe every seasoned guitar player has developed a similar type of noise elimination factor within their own playing, whether they consciously knew it or not.

Here’s what I find interesting, students that ask about this have an advantage because they are being shown what to do and can begin working on their own technique to eliminate Guitar String Noise. But… The ones who never had the opportunity of someone showing them just naturally developed a skill they didn’t even realize was there.

Here’s what you need to know to start this process today, of eliminating unwanted noise with your guitar playing.

1.) Bridge Palm Muting: You want to rest your hand over the bridge when playing single notes, and release your palm as needed to allow the strings to ring out. You are in control of how much muting you want. I suggest using very little, and adjusting as needed according to the amount of volume you want from the string at the time.

2.) Fretboard Finger Muting: This is one of the areas I subconsciously developed without realizing it. As you are bending strings and doing vibrato, I find that the other fingers can mute the sound behind the note being played. This holds true for running scales. As you work your way down, keep your finger low to the fretboard and they will mute all the string noise behind the notes being played.

EXAMPLE: If you bend your 2nd string up (B-string) a whole step, using your 3rd finger to bend, then you have your first and second fingers that can rest on the fretboard behind the string. This will help eliminate any unwanted Guitar String Noise that can pop up when playing.

As with scales… If you start on your sixth string and work your way down to the first string just allow your (bridge) palm to follow down behind each string after it’s been played, this will allow only the string being played to ring out.

Bending Strings Can Create Unwanted Guitar String Noise

Another important factor, when bending your strings be sure that the finger you use to bend the string is pushing (the next string above) up with the very tip of your finger. DO NOT let the string get pulled under the finger when bending because it will create all kinds of crazy Guitar String Noise that you can’t eliminate. Just allow the tip of your finger to push up the next string as you bend.

You might need to spend a bit of time trying to find the right combinations that work best for you, but believe me, once you get your mind wrapped around the concept of eliminating Guitar String Noise, this will become second nature and you won’t even think about it when you play.

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Tapping Guitar Harmonics

If you’ve heard a guitarist Tapping Guitar Harmonics, then you already know that it does create a beautiful sound especially when done on a clean sounding guitar. However, you can do this method on a distorted guitar as well and create equally cool sounds.

Edward Van Halen is definitely someone who has taken this technique and created great sounding music with it, as well as broadening the horizons on what can be done with tapping harmonics and killer Lead Guitar Playing.

Specific Techniques Are Required For Tapping Guitar Harmonics

When it comes to Tapping Guitar Harmonics, I find that many of my students don’t quite understand where to actually tap the fretboard to get the sound to jump out, and also don’t understand how to actually tap the fretboard to bring the sound out. There’s a couple of things you need to keep in mind when Tapping Guitar Harmonics.

1.) You need to tap over the top of the fret wire itself, not between the frets.

2.) You need to “pull” the sound out of the fretboard, not “push it in.

These are the two big problems that most guitarists face when it come to Tapping Guitar Harmonics. Though there are many different areas on the fretboard that you can actually tap harmonics from, we are going to look at 4 simple spots to work from. This will be all you need to work on the tapping technique itself, and from there you’ll be able to expand as far as you want and experiment with all the strings in any location on the fretboard.

You Should Practice Tapping Guitar Harmonics In One Area Of The Fretboard, To Master The Technique

Rule Of Thumb: Anywhere you hold a note down on the fretboard with your left hand, you can tap over the top of the fret-wire 12 frets away and create a harmonic. With that being said, you can create different pitches if you tap over different frets. Some frets are more delicate than others to get the harmonics to jump out, but with practice you can just about get a harmonic to jump out of any fret, anywhere. This takes time to master, but well worth it.

EXAMPLE: Fret the 3rd string on the 5th fret and keep your finger there, don’t move it. Now, tap over the top of the 10th, 12th, 14th, 17th fret-wire. If you’ve done this correctly you should hear 4 distinctly different harmonic pitches jump out.

If you don’t hear them you probably need to work on pulling the notes out of the fretboard rather than pushing them in. This is probably the hardest part to master. Just keep tapping until you hear the harmonics start to happen. You’ll eventually latch on to the technique that you need to use the harmonics to pop out.

Another cool thing to experiment with when you get the hang of it, is to bend the note with your left hand as you’re tapping the harmonics with the right hand. You can really expand on the possibilities with this one little extra trick thrown in.

When you get the hang of tapping guitar harmonics out of the fretboard, chances are you’ll use this technique as part of you’re playing for the rest of your guitar career.

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Mastering Your Guitar Metronome Timing

Guitar Metronome Timing

Timing is the element responsible for how tight and “in the pocket” your overall guitar playing is. If you have a great sense of timing you’re already a few steps ahead, in terms of being a great guitarist.

For some guitarists, timing is something they really have to work at, and for others it comes naturally.

Either way Guitar Metronome Timing can be mastered, and needs to be, when becoming the best lead guitarist you can. Something as simple as timing could be responsible for so many problems within your playing. It can also cause serious problems within a band… Even if it’s just one person who’s timing is out of whack.

It certainly doesn’t have to be a problem, and I suggest that if you are in a band, that you make sure everyone in the band has a complete understanding of the tempo and count throughout all of your songs… all the breaks, the changes, the endings beginnings etc… it all comes down to everyone thoroughly understanding the counts between all the breaks, stops, time changes, or dynamics throughout your songs.

Guitar Metronome Timing Is A Must For All Serious Guitarists

This is how you cut the guess-work, and bring the entire band’s mindset together as a unit.

The tighter your timing is the more “In The Pocket” you’ll be overall… Always be working on your timing!

We’re going to look at four basic time signatures and how to count them with a metronome. One thing I want to point out is that your metronome does not have to be clicking at a fast rate to play fast over it.

What you need to do when working on your Guitar Metronome Timing, is get comfortable playing four different time signatures over a single metronome pace. This is an important factor.

I suggest setting the metronome at (88) to start with.

* Single note counting is simply a count of… 1,2,3,4 / 1,2,3,4 / 1,2,3,4 / 1,2,3,4
Every count is directly on each beat of the 4 note count.

* Double note counting is when you insert an extra note in between the original 4 count.
Example: 1 & 2 & 3 & 4 & / 1 & 2 & 3 & 4 & / 1 & 2 & 3 & 4 & / 1 & 2 & 3 & 4 &

* Triple note counting is when you insert two extra notes in between the original 4 count.
Example: 1 & a 2 & a 3 & a 4 & a / 1 & a 2 & a 3 & a 4 & a / 1 & a 2 & a 3 & a 4 & a / 1 & a 2 & a 3 & a 4 & a

* Quad note counting is when you insert three extra notes between the original 4 count. (aka 16th notes)
Example: 1 e & a 2 e & a 3 e & a 4 e & a / 1 e & a 2 e & a 3 e & a 4 e & a / 1 e & a 2 e & a 3 e & a 4 e & a / 1 e & a 2 e & a 3 e & a 4 e & a

Practice Your Guitar Metronome Timing By Simply Jamming With It

I think it’s very beneficial to turn on a metronome and just jam with it for fifteen minutes. Play every kind of timing you can think of. You’ll be amazed at how much this alone, will help you.

Suggestion: If you combine your actual guitar practice time, and work on your Guitar Metronome Timing as described within the methods and techniques we’ve already discussed throughout this article, you’ll really be using your practice time efficiently to gain maximum results.

I hope this information sheds some light on the importance of Guitar Metronome Timing within your Lead Guitar Playing. We’ve discussed some very critical elements of Lead Guitar Playing in this article.

I realize the importance of a video course explaining in depth how to master your Lead guitar playing skills, including timing and many other crucial elements of successful Lead Guitar Playing.

This is why I created, Lead Guitar Domination which goes deeper into Guitar Metronome Timing using video to explain exactly how to utilize your timing for maximum results.

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Guitar Alternate Picking

When it comes to Guitar Alternate Picking and Legato Rolls, these are tools that you DO want to have complete control over, to use on demand at a moments notice.

I like to view this as the throttle controlling a fine-tuned engine. You won’t always have it cracked wide open, but when you need the power it’s there. Use it sparingly for maximum results.

You definitely want to spend extra time working with your Guitar Alternate Picking and legato rolling patterns.

The reason is, it’s your main tool to explore the fretboard, and lack of control in this area can easily become an obstacle holding you back from “un-restricted lead guitar playing”.

If you listen to Paul Gilbert, or Yngwie Malmsteen, you get a clear idea of what this is all about in its perfected state. The real challenge is to make it as effective as possible.

In my opinion, I personally feel that Eddie Van Halen does this the best!

Perfecting Your Guitar Alternate Picking Method, Puts You In Control

Remember to use your speed as a tool, not a crutch… You’ll turn more heads your way.

* How should you practice your guitar alternate picking and legato rolling patterns?

• Up-stroke and Down-stroke Synchronization: This is the difference between all cylinders firing on a finely tuned engine, or a fouled plug engine that ‘s missing… Seriously, this is your mechanical horsepower and needs harnessed to the fullest. Every musical phrase, lick, pattern, scale, run, etc… is all based on how well your up and down strokes are in sync…
• Emphasizing the up-stroke: Picking the upstroke with added emphasis will do two things for you… First, it gives you better stability and fluidity, but even more, it allows you a great sense of timing if you use the upstroke as a “time stamp” within your counting. It can help give you a better sense of where “one ” is within a lengthy solo run, or series of phrases.
• Smoothing Out Legato Patterns: When using legato patterns and runs, try to hammer your rolling notes as clean, steady, and consistent as possible. It’s easy to get ahead of yourself when rolling together. Here’s and Example: Notice when you’re playing three note per string legato runs that some points seem to be a bit faster than others, or maybe a bit more aggressive than other areas. You don’t want this type on inconsistent sound. You want to strive for a balanced turnaround, and steady timing with all your legato patterns. This will make your sound much more professional.
• Balancing Your Guitar Alternate Picking and Legato Volumes: As we were just talking about smoothing out your legato patterns, the next part to the equation is balancing out the picking notes within your legato rolls. You see, even though most of the time you won’t pick within legato patterns, there are definite times you will. Usually this happens when you go to a different string. The trick to mastering this is to ease up on the pick, and hammer-on as solid as possible. When you think along these lines, you’ll be able make the final adjustments between your left and right hand, (in regards to volume blending) while your playing licks.
• Seamless Non-Picking Turnarounds: Most of the time you won’t use your pick on turnarounds. I think it sounds more balanced and fluent when you don’t pick the turnarounds. The way you want to practice this is to simply roll two notes up, and roll two notes back…repeat. This should sound even and balanced (seamless). When you turnaround on any string it will be done this way. Even though you might cross four strings before you make a turnaround, when you do, this is how it’s done in its simplest form.
• Hybrid Picking Combination Utilizing Everything: This is ultimately where you want to be, in terms of being in complete control of all methods of alternate picking and legato runs. You want to visualize the big picture and combine all the elements as smoothly as possible. When you change from aggressive picking to smooth legato you want to make it sound as natural and seamless as possible. This requires practicing lengthy patterns that use all the methods above. If you consistently practice in this mindset, you will rapidly jump leaps and bounds within your lead guitar playing, not to mention dramatically improving your musical vocabulary.

I recommend spending some additional time with these techniques and methods. It does require more time to get comfortable with all of these elements, but I promise you it’s time well worth spent.

When You Start Mastering Your Guitar Alternate Picking, You’ll Begin Noticing That All Aspects Of Your Guitar Playing Become Easier.

I hope this  information sheds some light on the importance of Guitar Alternate Picking and Legato within your Lead Guitar Playing.

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Pentatonic Guitar Soloing

Soloing over guitar chords can be quite easy when using the minor pentatonic scale.

Add spice and power to your guitar solo’s with these simple but highly effective techniques.

You’ll be surprised with how much can be done.

Most guitar players start with the minor pentatonic scale when learning to solo.

Often times, people don’t learn to use the scale to it’s full potential and this can hold you back.

I’m going to show you an easy way to use Pentatonic Guitar Soloing over the three most common guitar chord types:

Major, Minor and Dominant 7th Chords.

Major Chords

A Major chord always has a relative minor chord. The easy way to find the ‘relative’ minor of any major chord on a guitar is to take the note three half-steps (3 frets) below the root note of the major chord.

Example: a C major chord – the root note is C. On a guitar, the note 3 frets below a C note is A. Therefore, A minor is the relative minor of C major.

For Pentatonic Guitar Soloing over a C major chord, use the A minor pentatonic scale and you’ll instantly discover that it sounds great!

Example-2: F major chord – three frets below the root of F, you will find D. You’ll use a D minor pentatonic scale over an F major chord.

Example -3: G major chord – three frets below the G root note you’ll find E. You’ll use the E minor pentatonic to solo over a G chord.

Now, you may have noticed that I listed C, F and G major chords there. Coincidentally, They are the 1, 4 and 5 chords of the ‘KEY’ of C Major. This applies to all instruments, not just guitar.

Minor Chords

An easy way to view this… simply use the minor pentatonic scale directly on the minor chord itself. You can do this in any key, over any minor chord. This is the most common form of Pentatonic Guitar Soloing.

Example – Use D minor pentatonic for a D minor chord, an E minor pentatonic for an E minor chord, an A minor pentatonic for an A minor Chord.

If you’ll notice I used D, E and A minor chords as the example… These chords are the 2, 3 and 6 chords of the ‘KEY’ of C Major?

Dominant 7th Chords

You have a couple of choices here. But basically, you would use the relative minor pentatonic, or the minor pentatonic a tone below the root of the dom7 chord.

Example – over G7, you could use either E minor pent (relative minor), or D min pentatonic.

The reason you could use the D minor pentatonic over a G7 chord is because the Dmi chord and G7 chord often go together in chord progressions. Forcing a Dmi sound over a G7 chord gives a G7sus sound.

KEY Perspective Viewing:

All These Pentatonic Guitar Soloing Examples Are Based In C Major.

An interesting thing is that you can use just the A minor pentatonic alone for ALL the chords in C, or you can also use the D and E minor pentatonics to add some color and more conformity to the chords being used at the time.

Remember, these principles apply to whatever chord you are playing at any time, but can also be applied on a KEY basis, which is a more encompassing picture.

The Key of C Major has these chords: C, Dm, Em, F, G7, Am, Bmin7b5.

A-minor pentatonic can be used over them all, or just the C and Am chords.

D minor pentatonic can be used over the F and Dm chords.

E minor can be used over the Em and G7 chords.

The (Bmi7b5) is not used quite as aften, but a good choice for that is the Dm pentatonic. Though you can use either of the three pentatonics from the C Major scale – Am, Dm or Em…

You’ll ultimately need to decide for yourself which sounds best for the music you’re playing. I suggest using them all. That’s the beauty of music.

Don’t Underestimate The Power Of Pentatonic Guitar Soloing

If you use them as described, you’ll quickly be able to harness the full power from these staunch sounding scales.

I hope this has helped you to expand your guitar playing.

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Guitar Quality

Guitar Quality

Can the quality of your guitar hold you back from being the best guitar player you can be? The answer is sort of tricky because it could be yes and no! Guitar Quality as a beginner, not so much.

If you are a beginner, you certainly don’t need a Les Paul Custom and a Marshall Stack to become a great guitar player.

On the other hand, if you are a seasoned guitar player and were handed a very cheap guitar and cheap amp to perform your gig with, it would be safe to say that you wouldn’t play as good or sound as good as you’re capable of.

However, the seasoned player would still be able to play the cheap instrument for all it’s worth though!

With that being said, it’s important to understand that when you are learning guitar, it’s all about putting the hours in and really understanding what you are practicing. Then, you actually need to spend quality time practicing those things on a regular basis.

Don’t let the guitar quality factor hold you back from putting in great guitar practice time.

Guitar Quality Should Not Hold You Back From Improving In The Beginning.

It’s common to hear a guitarist in the early stages of practicing say something like “if I only had this guitar and that amp I would be able to play better.” Not necessarily true! What you need is a guitar that plays good, and an amp that sounds good. Period.

This could be a fifty dollar guitar and a fifty dollar amp. You may need to make some minor adjustments to the guitar to make it play easier, and set the intonation, but after that, it comes down to you putting in the hard work. There will come a time in your guitar playing that a better guitar and a better amp will make you sound better. But… that’s down the road a ways.

Things you can do to a cheap guitar to achieve better Guitar Quality:

• Adjust the neck for proper relief
• Set intonation on the bridge
• Adjust string height
• File any frets that “fret out”
• New strings

Just these simple things can make a world of difference on an in-expensive guitar. If you want to take it a step further you could install new pickups as well. But, I would not spend too much money just yet, because eventually you will spend your money on a higher quality guitar, when you get to the point that Guitar Quality does matter.

Eventually, Guitar Quality Will Make All Your Hard Work Pay Off.

Keep in mind that a distortion pedal placed before almost any amp can get the job done if the amplifier you have doesn’t have enough distortion for you. I recommend that you don’t use too much distortion, but just enough to make it roar.

Remember this, you should be able to pick up an acoustic guitar and play it almost as good as your electric. If that is problem, then your electric guitar skills need to be refined. When you can pick up an acoustic guitar and play most everything on it that you can on your electric, then you’re on the right path.

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Guitar Warm-Up Exercises

As a long time guitar teacher, I often notice that many of my students do not go through any guitar warm-up exercises before they practice their guitar. They simply just pick up the guitar and start blazing on different speed picking techniques or whatever they might be working on at the time.

Not only is this limiting your actual progress, but it can actually hurt you if you’re not warmed up before you start putting your hands and fingers through strenuous challenges immediately upon picking up the guitar.

Now, I know there are some that might say “I don’t need to warm up” that I can play just as fast from the moment I pick the guitar up until the moment I set it down. Maybe that is the case for some, but.. I highly recommend that you DO some guitar warm-up exercises before your actual practice time.

What you might not realize is that you may be holding yourself back from your full potential.

You’ve probably heard somebody say (after playing a 45 minute set) “I can’t believe the set is over I was just getting warmed up”. Well it’s true, but here’s the biggest issue, if you allow yourself just 10 or 15 minutes of warm up time, you’ll start off in your sweet spot and then rapidly start to progress.

Guitar Warm-Up Exercises Will Improve Your Band Performances, And Tighten Your Overall Guitar Skills.

Here’s what I recommend for a good solid guitar warm up. Start off slow (this is very important) and be very accurate with your alternate picking. Keep your mental focus locked in on your left and right hand being in sync with each other. Here’s what you should practice..

This is a simple chromatic pattern that will warm up all your fingers simultaneously and lock in your synchronicity.

Use your (1) index finger, (2) middle finger, (3) ring finger (4) Pinky. Use Alternate picking for every movement made. Go slow! Only go about 10% of your capable speed. The purpose is not to build speed, the purpose is to loosen up, stretch your fingers and tendons, as well as getting your mind laser focused. Play as loose as possible, try not to tense up at all. Just let the exercise happen as freely as possible with clarity, consistency, and distinction.

Here’s Your Guitar Warm-Up Exercises:

6th string – 1st fret, 2nd, 3rd, 4th,

5th string – 1st fret, 2nd, 3rd, 4th,

4th string – 1st fret, 2nd, 3rd, 4th

3rd string – 1st fret, 2nd, 3rd, 4th,

2nd string – 1st fret, 2nd, 3rd, 4th,

1st string – 1st fret, 2nd, 3rd, 4th,

Then reverse it back down.

1st string – 4th fret, 3rd, 2nd, 1st

2nd string – 4th fret, 3rd, 2nd, 1st

3rd string – 4th fret, 3rd, 2nd, 1st

4th string – 4th fret, 3rd, 2nd, 1st

5th string – 4th fret, 3rd, 2nd, 1st

6th string – 4th fret, 3rd, 2nd, 1st

You want to repeat this exercise for each and every fret all the way up to the 12th fret, and then work your way back down. (the next fret series would be 2nd, 3rd, 4th,5th, frets – then 3rd, 4th,5th,6th frets and so on…) I suggest doing this entire warm up 5 full times, all the way up the neck and all the way back down the neck.

If you allow yourself to do these exact guitar warm-up exercises every time before you begin practicing, you’ll notice that you’ll be like a race horse waiting to bust out of the gate. When it comes time to actually start your practice routine, you’ll be so much more accurate and your speed will seem effortless.

The key to this whole thing is going slow, allowing yourself 5 complete times up and down the neck, focusing on the left and right hand being in sync, and distinct alternate picking. This may seem boring, but if you’re doing this properly, you won’t be thinking about how boring it is because you’re not trying to play a piece of music, you’re allowing yourself to become prepared for battle, so to speak. This is the golden rule for guitar speed success.

Click Here For a FREE VIDEO…And More Information On Improving Your Guitar Speed and Accuracy.

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Guitar Modes And Improvisation

When it comes to Guitar Modes and Improvisation, it helps to understand the major scales modes, and use them as a road map to travel across the fretboard. When I use the term “road map”, it’s very much like an actual road map. A road map shows you how to get from point “A” to point “B” in numerous ways. When you look at a map and decide on a route to take, you realize that are many routes you could take, but once you know where your destination point is, then it’s up to you to decide exactly how you want to get there.

When learning the concept of modes some people make it more difficult on themselves than need be. The truth is, that when you begin to understand the connection between the modes, it unlocks the entire fretboard and allows you total freedom to play wherever you please. Guitar Modes can be useful to create very calculated sound structures when you really have a firm grasp on them, as well as how to manipulate them. In this lesson I’m going to show you how to view them in their simplest form.

What Are Guitar Modes and Improvisation?

The modes are a series of notes (in this case 7 notes of the major scale) played in its primary order of the scale. By simply replacing the first note with the second note of the scale (and placing the first note at the end of the scale) you simply changed the order of the notes, but didn’t add any new notes at all.

This would be an example of playing the 2nd mode or 2nd position of the major scale. If you continued to do this same technique, starting on the next note in line and playing through all of the notes ending up on the one you started with… you’ll be playing the 3rd mode or 3rd position.

Here’s and example of the formula I just explained in the key of “G”.

1st mode position G-A-B-C-D-E-F#-G

2nd mode position A-B-C-D-E-F#-G-A

3rd mode position B-C-D-E-F#-G-A-B

4th mode position C-D-E-F#-G-A-B-C

5th mode position D-E-F#-G-A-B-C-D

6th mode position E-F#-G-A-B-C-D-E

7th mode position F#-G-A-B-C-D-E-F#

8th mode position (octave) G-A-B-C-D-E-F#-G

Notice that the 8th position is exactly the same as the first position. This is the octave, and everything starts over again from that point. If you can simply wrap your mind around this concept, you’ll unlock the entire fretboard and be able to solo in any key you choose. You see, the trick is to spend time with the first mode (major scale), and then slowly start to combine it with the 2nd mode, then slowly add the 3rd mode etc… There’s no rush to get them all down in a day or two. In fact, I recommend you spend a few weeks doing nothing but this type of playing.

Guitar Modes and Improvisation Are The Keys To Fretboard and Musical Freedom.

It’s like I mentioned with the road map earlier, you’ll start playing in areas than you choose, rather than just looking for areas to play in. Your level of musical vocabulary with increase greatly, and your creativity in writing will also improve dramatically.

Now, I want to make one thing very clear, these are the modes in it’s simplified form. You are connecting them together in either a horizontal way, or a vertical way. Both ways are recommended.

Once you understand this concept, then we can start to introduce the “interval formula” of the modes into different keys, which will explode you’re abilities beyond belief. Much like Joe Satriani, Steve Vai, John Petrucci, Yngwie Malmsteen as well as many others. This is where you’ll start adding color and mood into your sound.

Would you like to learn more about guitar modes and improving your Lead Guitar Skills?
Click Here For Video Instruction On Guitar Modes and Improvisation.

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Play Lead Guitar - Vertical

Understanding how to play lead guitar in key can be very confusing for people who have not had the opportunity of someone showing them the theory behind it. The truth is that it’s not as hard as might might think, but when you don’t know anything about how to play lead guitar in key, it can seem very difficult to master.

Solving The Mysteries Of How To Play Lead Guitar

Today we are going to explore some of the elements of how to play lead guitar in any key, for any song, at any time, for any style of music you desire. The very first thing you need to understand is the basic major scale. This scale is also called the “Ionian Mode”. Anytime you hear someone talk about the the “Ionian Mode”, they are simply talking about the natural major scale.

To play lead guitar with a firm understanding, you need to know that the major scale is what all other modes and scales are based off of. If you have a firm understanding of the major scale, then everything else you learn, (from this point forward) will be much clearer to you.

If you have any sort of training in the past, or any help from friends in the past, I want you to just let it all go for now and give yourself a new slate to work from mentally. Just allow yourself to start from scratch right now, as if you are a brand new guitar player with zero knowledge.

Understanding How To Play Lead Guitar Begins With The Major Scale

The major scale is made up of 7 notes, and then the octave which is the 8th note. The 8th note is exactly the same as the 1st note only one octave apart from each other. Keep in mind…when I talk about the notes as numbers, I’m talking about the number of notes in the scale, not 8th notes as in written music etc…

The formula (or intervals) for the major scale is: W-W-H-W-W-W-H (W= whole step) (H=half step)

Whole Step, Whole Step, Half Step, Whole Step, Whole Step, Whole Step, Half Step.

Play Lead Guitar - Horizontal

Anywhere you start on the neck, and follow this formula, you will be playing the major scale. The key you are playing in is simply determined by the first note that you start on. This holds true for any string or any starting point on the entire fretboard.

EXAMPLE: If you start your scale intervals on the 6th string 3rd fret, you would be in the key of “G”. Why, because the 6th string 3rd fret is the “G” note, so therefore the scale would be in the key of “G”

This would be an example of playing your major scale in a horizontal position. You should also know how to play the same major in a vertical position as well.

What’s the difference between horizontal positioning and vertical positioning…?

The simplified answer is that horizontal scaling tends to bring out more melodic phrasing within your lead guitar playing, where as vertical scaling tends to allow faster licks and phrasing to easily flow together. That’s not to say that you can’t can’t play lead guitar fast or melodic in both vertical and horizontal positions, it’s just a natural tendency to play melodic in a horizontal scale form, and fast-flowing licks within vertical scale form.

Any Advantage To Play Lead Guitar Horizontally and Vertically?

YES! The secret sauce is to recognize the difference between to the two styles and be able to play both ways in either forms of the scale positions. This takes a bit of time to master, but simply being made aware of this today, has put you miles ahead of the learning curve.

The next example is to play the same major scale in a vertical position. The formula and intervals are exactly the same, but this time you’ll only play 3 notes per string before move down to the next string.

EXAMPLE: (Key of “G”) If you start on the (6th string 3rd fret)… the first 3 notes would be 3rd fret, 5th fret, 7th fret… then jump down to the (5th string 3rd fret) the next 3 notes would be 3rd fret, 5th fret, 7th fret… then jump down to the (4th string) 4th fret, 5th fret, and finally the octave 7th fret.

If you counted all of those notes it woul be a toal of 8 notes, but only the first 7 notes make up the scale, and the 8th not is the octave. In this case the octave would be the 4th string 7th fret.

Again, the first note determines the key you are in. I suggest that you practice equal amounts of time on both horizontal and vertical positioning. This will give you a huge advantage on your lead guitar playing skills over many other guitarists. I also suggest that you practice in only one key to start with.

Since we used the key of “G”, just use this key to get as your starting point. You want to train your ear to hear the scale in the same key over and over, so it becomes very natural sounding. When you do this, it becomes much easier to practice in other keys because your ear will already be “tuned in” to the sound of the major scale.

Would like to know more about improving your Lead Guitar Playing?

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When learning your Guitar Fretboard Notes there’s many ways to go about mastering this process. Many of which are far too complex and over-thought. Having been a guitar instructor for over 20 years I’ve seen a lot a ways that my students have trained themselves to understand the notes on the fretboard, and have analyzed most of them.

What I most commonly find is that they put more demand on themselves than need be. In fact, most of the time it becomes more complicated to understand the Guitar Fretboard Notes when using some of these complex methods.

Today I’m going to show you an easy to understand method of mastering your Guitar Fretboard Notes fast and easy, once and for all. There’s just two shapes you need to remember and rest will fall into place once you begin practicing this method.

The best part of this method is that you’ll learn all the octave locations across the neck at the same time, as well as the Guitar Fretboard Notes. This makes it much easier to see the entire neck for each and every key, on demand.

1st Triangle Shape For Guitar Fretboard Notes Memory.

• Figure #1.

Guitar Fretboard Notes - G Octaves

As you can see, the starting point is on the sixth string, third fret. From there you’ll diagonally cross over to the fourth string, fifth fret. Finally, all the way down to the first string, third fret.

These three “G” notes create the triangle you see in the diagram. The starting point on the sixth string will always represent the key signature that you’re in.

As you move this shape up or down the neck, the triangle stays exactly the same, and the starting note on the sixth string will always be the key your are in. This is the best way to view your octaves from the sixth string perspective. You’ll want to practice this triangle shape all the way up the neck and all the way back down the neck, calling out each key that you’re in as you practice them in sequence.

Once you get the hang of moving this shape around and calling out the keys, you’ll start seeing all the Guitar Fretboard Notes easier than ever before. You’ll wonder why you didn’t catch on to this simple method sooner.

2nd Triangle Shape For Guitar Fretboard Notes Memory.

• Figure #2.

Guitar Fretboard Notes - C Octaves

This one is slightly different, in that it starts on the fifth string, third fret. From there you’ll diagonally cross over to the third string fifth fret. Finally, down to the second string, first fret.

These three “C” notes create the triangle you see in figure 2. The starting point on the fifth string will always represent the key signature that you’re in.

As you you move this shape up and down the neck, the triangle stays exactly the same, and the starting note on the fifth string will always represent the key you’re in. Again, this is the best way to view your octaves from the fifth string perspective. You’ll want to practice this triangle shape all the way up the neck and all the way back down the neck, calling out each key as you’re practicing them in sequence.

Once you get the hang of moving this shape around and calling out the keys, you’ll start seeing all the Guitar Fretboard Notes super easy.

These Two Triangle Shapes Will Unlock All Of The Guitar Fretboard Notes.

What you’ll start noticing when you practice this method, is that you’re able to simply look at the guitar fretboard without playing anything, and actually see all of  the Guitar Fretboard Notes by just viewing the guitar fretboard. The same thing happen if you close your eyes and visualize the neck, you’ll still see all the notes. This is what you want.

If you practice these shapes daily, you’ll find that within a week the neck will have a whole new look to it. You won’t see the neck the way you did before, as just frets and dots… You’ll begin to clearly see all notes by name and will be much more comfortable playing in different keys. You’ll also notice a major improvement with improvising.

When you unlock the Guitar Fretboard Notes your creativity goes way up, and the quality of your music improves as well. It’s only natural that it would, because you’ll now have complete control over the fretboard. If you feel this has helped you, please leave a comment in the box below.

Click Here For More Information On Mastering Your Guitar Fretboard Notes.

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