Are you a good Guitarist? (Part II)

Continuing from the previous post....

6) Discover your interests and the things that inspire you. I remember going to music shows and concerts of great players where I always learned new things. This was indeed an inspiration within me. I learned various techniques to improve my “solo” or be it “picking”. To see the great players perform flawlessly on stage drove me to improve my skills. Apart going for concerts you also need to develop a constant burning desire to improve yourself. Check out this link on more tips on 'How To Master Lead Guitar'

7) Set a goal and strategy to achieve it. Have you set a goal? Do you know how to achieve it? Imagine just in case if I shoot these questions standing right in front of you, would you be answerable? A correct strategy is the most vital element to success. I have come across people with scores of pessimism, negativities, fear of failure and lack of enthusiasm that blocks them to achieve what they had set their minds for. A good plan and strategy can overcome these negative thoughts in your mind.

8) Identify the “WHY” factor behind your GOAL. Believe me this is more important than the above!

9) The strategy that you device to attain your goals must be divided into three sections. It should have short and easy section, medium (Bit tough!) section and finally the most challenging (Ultimate) section. Write them on a paper so that you don’t forget!! Just by sitting and practicing without sequence will reap you no fruit guys. Remember our teachers always told us to learn basics first. It applies here as well. As you move to next section you will discover many great ideas your own way. Check out this link to Master Picking basics : 'Picking Basics'

10) I remember my good old days when I was learning guitar. Half of the time I used to dream becoming a perfect Guitarist. I always tried to play the difficult sections first without getting skilled in the easier ones. I realized it later that I was WRONG. I was wasting my time! There’s an old saying, “Don’t dream without doing!” So, dreaming is not bad, provided it has a meaning.

Are you a good Guitarist? (Part 1)

I have often come across people who ask me "How to become a good Guitarist?" Well, I think the answer to this question is not short... I myself took years to answer this question. The first and foremost thing one should learn to do is Practice, Practice and Practice! People also ask me this question, “I practice a lot, and still I’m not good. WHY?” I say you must admit to the fact that “Practice only when your practice is perfect!” :) Like you have done, I have also read lots of articles on improving one’s playing. But seldom are we told much more than “Practice”!! In my long journey of becoming a successful guitarist I came across few findings what I think I must share with you guys. I believe below guidelines have proven to bring great results:

1) Educate yourself! There’s no end to knowledge. No matter at what stage you are at today, you must always try to learn new things. If you have enrolled yourself at in a music program, you are going right. If you feel your music teacher is not helping you reach your goals I recommend you to change the teacher. Believe me it’s very important to find a good teacher! You don’t need a teacher to just give you information or things to practice. You can get those things anywhere…
2) Listen to more music you like! Search for the same music you like. There might be numbers available you haven’t heard yet. I’m sure this will inspire you to a much good level. Check out internet radios and music sites that have music in the style you like.
3) Turn your music frustrations into a motivating force! I know at times its really tough… you can motivate yourself if you believe you can play anything.
4) Believe in yourself. This is very important. If you get stuck in paying difficult notes just don’t give up. One day you will get it. Trust you inner conscience.
5) Becoming a better guitarist means becoming a good musician. You must learn to think out of the box! Apart learning guitar specifics: chords, strumming, notes, etc., try giving some time to non guitar techniques like song writing, creativity, ear training and music theory.

Joe Satriani & Funtwo - Guitar Gods!!

I'm Leaving on a Jet Plane Original Video

What Guitar Scales Are, Technically, And Why We Practice Them

Musically speaking, we have seen that scales are the "building blocks" of music. Many times in playing all types of music, we find ourselves simply playing scales, backwards and forwards, and in lots of other patterns. So it would seem natural that it would be a good idea to know how to play them, and it is!
If we think about scales in terms of technique, in terms of what it takes to actually play them on the guitar, we realize that simply because a scale is a string of notes, the simple act of playing a scale is quite a demand on the player. And the faster the scale, the greater the demand. In fact, for guitar players, scales are a whole lot more difficult than they are for most other musicians. A piano player only needs one finger to play one note, but a guitar player needs the co-coordinated action of TWO fingers (or finger and pick) to produce one note, and that has profound implications. As a guitar player, you would be wise to reflect on and appreciate this fact.
Almost all guitar students are unprepared for effective scale practice when the first scale comes along. The concept of truly independent finger action must have already begun to become a physical reality in the hands in order for scales to begin to be practiced with benefit, and not harm.
Segovia wrote, in his famous collection of scales for the classical guitarist "the study of scales will solve a greater number of technical problems in a shorter amount of time than the study of any other technical exercise." In other words, if you are able to successfully play scales, and get one finger after another to do what it needs to do to get those notes, then there are a whole lot of other things you will also be able to do. So this means that the study of scales is one of the best things we can do in our practice sessions to develop and maintain our technique.
And this is one of the main points I want to get across here: scales are, at the very least, a primary technical exercise for all types of guitarists. For non-improvising guitarists such as classical guitarists, this is, in fact, their main purpose. A classical guitarist does not need a million scales at his fingertips. Since scales are serving only the purpose of providing excellent exercise for the fingers, we only need to select and practice the ones we feel give us that exercise. In fact, in Segovia’s collection, most of the scales are simply the same finger patterns moved around the neck.
Of course, there is a world of things to know about the CORRECT way to practice scales so that our fingers actually do learn to play them well, and so that the practice of scales helps us technically, rather than hurts us. For far too many students, scale practice gets them nowhere. That of course, is a whole other subject which I have addressed in other posts. At the least, you should realize that practicing scales successfully is a complex matter, not to be underestimated, and not to be undertaken without a lot of effort to understand HOW to practice them correctly.
With this is mind, we could interpret Segovia’s statement to mean "if you can figure out how to learn scales well, you can figure out a lot of other technical challenges that playing the guitar poses".

What Scales Are, Musically, and Why We Practice Them ??

What Scales Are, Musically, and Why We Practice Them ??

Musically speaking, a scale is simply a series of notes, following one after the other. The really important thing about any scale is the SPACE between the notes, and by space, I mean the space in terms of PITCH. It is the distance in pitch between two notes that contains the EMOTIONAL CONTENT of music. This is one of the most important concepts that any musician can know, and most do know it, if only on an intuitive level. For those wishing to develop an understanding of music theory, this concept should be pursued and understood. I cannot go into it in the depth it deserves in this essay, but I will lay out the essence of it, and you should pursue it with your teacher, and in books.

If I play a note on the guitar, and then play the same note again, there is no distance in pitch between the two notes. If I play a note, and then play the note on the very next fret, the distance in PITCH, (which is the "highness" or "lowness" of a sound), between those two notes is called a half step. If I play a note, and then play the note two frets away (a note on the first fret, then the third), that is called a whole step, and the effect is very different than a half step. If I play a note and then the note three frets away, that distance is called a minor third.

All of these different spacings in pitch between notes are called INTERVALS in music theory. In the interval of a minor third mentioned above, you can really hear what I mean by the "emotional content" of the interval. The minor third interval is contained in the minor chord, and this particular "spacing" between notes is what gives a minor chord it’s dark, minor sound. When you play a blues scale, it is the sound made by the first two notes, and gives the blues scale it’s bluesy feeling (or at least contributes to it, as do some other intervals).

That is as far as I want to go with Intervals for now. I just want you to know they exist, and that they carry the "emotion" of music. I want you to know that every scale not only contains notes, but that the SPACES, or Intervals between the notes are what is really important. Scales come in different "types", major, minor, diminished, etc.. Each type of scale has its own peculiar spacings between the notes, and these spacings give each type of scale its unique emotional feeling or "color". You will see later that players of different styles use different types of scales in their playing. A lifelong blues/rock player may never need to play a major scale.

Because each type of scale has the same intervals between notes, each type of scale has the same "feeling", even if it has a different letter name. In other words, if you play a C major scale, or a D major scale, or a G major scale, they will all have the same pattern of spaces, or intervals between each of the notes, as well as each containing the same number of notes, so, they will all sound "the same" in terms of the "emotional content" or feeling of the scale. In fact, you could say they all have the same "color". Minor scales have a different spacing between the notes than major scales, and it gives them a "dark" color.

Using this analogy, you could think of a scale as a palette of colors. If a composer wants to write a sad piece, he will pull out a minor scale, and use those notes to write it. In this sense, we could say scales are the building blocks of music.

"Scales, Who needs them? Why and What For, Anyway?!"

Somewhere along the way in our development as guitar players, we start to get the idea that it would be a good idea if we learned some of those things called scales. If we are new to the guitar, and new to music, we are probably not even quite sure exactly what a scale actually is, which certainly adds to the aura of mystery that begins to surround the subject.

The next thing that happens, as we continue along in our development, is that we begin to get the unsettling impression that there seems to be an awful lot of those things called scales. In fact, there seems to be hundreds of them. We may even run across an encyclopedia of scales, and realize that there could be thousands of these little buggers out there! The very prospect of learning all those scales begins to make us weak in the knuckles!

It is at about this point that we start to get a little suspicious, a little curious about this whole business of scales and what they really have to do with us, and what we want to do on the guitar. "How many of these things do I have to learn, anyway"?, we ask, "and what do I do with them once I learn them"?

Then we go and try to find the answer to our questions. We read magazines and hear a lot of advanced and professional guitarists talk on the subject, and it leaves us even more confused. One guy says we must know a hundred ways to play a major scale, and then we should learn a hundred minor scales, and then start on the more exotic type of scales. Another guy, who is also an advanced player, perhaps professional and perhaps rich and famous, says he only uses a few scales. So after all our agonized searching, we are even more confused than when we started!

What gives?

Well, I am going to try and provide some clarity on the subject. I am going to lay out an overall view of the subject, and provide you with an understanding of what scales are, what they are used for, and how the way scales are used is DIFFERENT for different types of players. Once you understand these things, you will be in a much better position to achieve some clarity on the subject, and make your own decisions about how you are going to include the study of scales into your practice regime!

Here I have a rough diagram to explain in brief :

Guitar Shops in Noida

Ajay Sharma Associates
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Studio Zephyr : Sound Studio Noida‎
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RAYZ Entertainment‎
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Samir Music Center‎
294, Shiv Complex, New Ashok Nagar, Ashok Nagar, New Delhi, Delhi 110096‎ - 09868417786‎

Gopal the Music Shop‎
Indra Market, Sector 27, Noida, Uttar Pradesh‎ - 0120 2530816‎

Gopal the Music Shop‎
Indra market, Sector 27, Noida, Uttar Pradesh 201301‎ - 0120 2530816‎

Lahore Music House‎
3705, Netaji Subhash Marg, Daryaganj, New Delhi, Delhi 110002‎ - 011 23271305‎

Marques Music Salon‎
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Full Circle‎
5 B, Khan Market, New Delhi, Delhi 110003‎ - 011 24655641‎

Beats Of Music‎
1895-B/18,Govindpuri Extension, Kalkaji, New Delhi, 110019‎ - 09818422292‎

Classical guitars

Classical guitars

These are typically strung with nylon strings, played in a seated position and are used to play a diversity of musical styles including classical music. The classical guitar is designed to allow for the execution of solo polyphonic arrangements of music in much the same manner as the pianoforte can. This is the major point of difference in design intent between the classical instrument and other designs of guitar. Flamenco guitars are very similar in construction, but are associated with a more percussive tone. In Mexico, the popular mariachi band includes a range of guitars, from the tiny requinto to the guitarron, a guitar larger than a cello, which is tuned in the bass register. In Colombia, the traditional quartet includes a range of instruments too, from the small bandola (sometimes known as the Deleuze-Guattari, for use when traveling or in confined rooms or spaces), to the slightly larger tiple, to the full sized classical guitar. The requinto also appears in other Latin-American countries as a complementary member of the guitar family, with its smaller size and scale, permitting more projection for the playing of single-lined melodies. Modern dimensions of the classical instrument were established by Antonio Torres Jurado (1817-1892). Classical guitars are sometimes referred to as classic guitars. In recent years, the series of guitars used by the Niibori Guitar orchestra have gained some currency, namely:

* Sopranino guitar (an octave and a fifth higher than normal); sometimes known as the piccolo guitar
* Soprano guitar (an octave higher than normal)
* Alto guitar (a 5th higher than normal)
* Prime (ordinary classical) guitar
* Niibori bass guitar (a 4th lower than normal); Niibori simply calls this the "bass guitar", but this assigns a different meaning to the term than other parts of the community use, as his is only a 4th lower, and has 6 strings
* Contrabass guitar (an octave lower than normal)

Type of Guitars

Guitars can be divided into two broad categories, acoustic and electric:

Acoustic guitars:

An acoustic guitar is one not dependent on an external device to be heard but uses a soundboard which is a wooden piece mounted on the front of the guitar's body. The acoustic guitar is quieter than other instruments commonly found in bands and orchestras so when playing within such groups it is often externally amplified. Many acoustic guitars available today feature a variety of pickups which enable the player to amplify and modify the raw guitar sound.

There are several notable subcategories within the acoustic guitar group: classical and flamenco guitars; steel string guitars, which include the flat top or "folk" guitar; twelve string guitars and the arch top guitar. The acoustic guitar group also includes unamplified guitars designed to play in different registers such as the acoustic bass guitar which has a similar tuning to that of the electric bass guitar.

Renaissance and Baroque guitars
These are the gracile ancestors of the modern classical guitar. They are substantially smaller and more delicate than the classical guitar, and generate a much quieter sound. The strings are paired in courses as in a modern 12 string guitar, but they only have four or five courses of strings rather than six. The guitar player (c. 1672), by Johannes Vermeer can be seen in the figure. They were more often used as rhythm instruments in ensembles than as solo instruments, and can often be seen in that role in early music performances. (Gaspar Sanz' Instrucción de Música sobre la Guitarra Española of 1674 constitutes the majority of the surviving solo corpus for the era.) Renaissance and Baroque guitars are easily distinguished because the Renaissance guitar is very plain and the Baroque guitar is very ornate, with ivory or wood inlays all over the neck and body, and a paper-cutout inverted "wedding cake" inside the hole.

Guitar History

Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides". Instruments similar to the guitar have been popular for at least 5,000 years. The six string classical guitar first appeared in Spain but was itself the product of a long and complex history of diverse influences. Like virtually all other stringed European instruments, the guitar ultimately traces back thousands of years, via the Middle East, to a common ancient origin from instruments then known in central Asia and India. It is distantly related with contemporary instruments such as the tanbur, setar, and the Indian sitar. The oldest known iconographic representation of an instrument displaying all the essential features of a guitar being played is a 3,300 year old stone carving of a Hittite bard. The modern word, guitar, was adopted into English from Spanish guitarra (German Gitarre, French Guitare), derived from the Arabic qitara and Latin cithara, which in turn was derived from the earlier Greek word kithara, which is perhaps related to Old Persian sihtar. Sihtar itself is related to the Indian instrument, the sitar.
Illustration from a Carolingian Psalter from the 9th century, showing a guitar-like plucked instrument.

The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their conquest of the Iberian peninsula in the 8th century. Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried. By 1200 AD, the four string "guitar" had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several soundholes, and the guitarra latina (Latin guitar) which resembled the modern guitar with one soundhole and a narrower neck.

The Spanish vihuela or "viola da mano", a guitar-like instrument of the 15th and 16th centuries is, due to its many similarities, usually considered the immediate ancestor of the modern guitar. It had lute-style tuning and a guitar-like body. Its construction had as much in common with the modern guitar as with its contemporary four-course renaissance guitar. The vihuela enjoyed only a short period of popularity as it was superseded by the guitar; the last surviving publication of music for the instrument appeared in 1576. It is not clear whether it represented a transitional form or was simply a design that combined features of the Arabic oud and the European lute. In favor of the latter view, the reshaping of the vihuela into a guitar-like form can be seen as a strategy of differentiating the European lute visually from the Moorish oud.

The Vinaccia family of luthiers is known for developing the mandolin, and may have built the oldest surviving six string guitar. Gaetano Vinaccia (1759 – after 1831) has his signature on the label of a guitar built in Naples, Italy for six strings with the date of 1779. This guitar has been examined and does not show tell-tale signs of modifications from a double-course guitar although fakes are known to exist of guitars and identifying labels from that period.

The dimensions of the modern classical guitar (also known as the Spanish guitar) were established by Antonio Torres Jurado (1817-1892), working in Seville in the 1850s. Torres and Louis Panormo of London (active 1820s-1840s) were both responsible for demonstrating the superiority of fan strutting over transverse table bracing.

Guitar - Wikipedia, the free encyclopedia

Guitar - Wikipedia, the free encyclopedia: "The guitar is a musical instrument with ancient roots that is used in a wide variety of musical styles. It typically has six strings, but four, seven, eight, ten and twelve string guitars also exist.

Guitars are recognized as one of the primary instruments in blues, country, flamenco, rock music, and many forms of pop. They can also be a solo classical instrument. Guitars may be played acoustically, where the tone is produced by vibration of the strings and modulated by the hollow body, or they may rely on an amplifier that can electronically manipulate tone. Such electric guitars were introduced in the 20th century and continue to have a profound influence on popular culture.

Traditionally guitars have usually been constructed of combinations of various woods and strung with animal gut, or more recently, with either nylon or steel strings. Guitars are made and repaired by luthiers."

The Guitar!

I have created this Blog for those who wish to share and gain knowledge about Guitars. I'm glad there are a lot of guitar players pursuing technique as diligently as they possibly can, because it leaves this whole other area open to people like me! Among God's creatures two, the dog and the guitar, have taken all the sizes and all the shapes, in order not be separated from the man...