(Easy Guitar). Culled from the cable channel’s series of shows counting down the greatest hard rocking hits of all time, this compilation features axe-slingers such as AC/DC, Black Sabbath, Metallica, Iron Maiden, Kiss, and more. Includes easy arrangements of: Back in Black * Crazy Train * Dr. Feel Good * Hot for Teacher * Paranoid * Photograph * Rock And Roll All Nite * Smells like Teen Spirit * Talk Dirty to Me * Welcome to the Jungle * Won’t Get Fooled Again * and dozens more.Used Book in Good Condition
Modes can be a subject that can send shivers down the spine for several guitar players. The concept of modes as such is not that complicated, it is nothing but a major or minor scale starting from a particular place. Anyway, we are not here to teach you the theory behind the modes. What we are going to try today is to initiate you to the world of modes by introducing you to their names and giving you some suggestions on how you can remember them.
As we mentioned earlier, the concept of the modes is not really that difficult. What actually is difficult, is to remember these complicated names that sound like character from a weird alien movie. Now, before you commence your journey on modes, it is important that you remember these modes in the exact same order as it is. The best way to do that is to come up with an a sentence to remember all the names of the modes, which is popularly known as mnemonics.
Before we begin with our sentences it is necessary that you familiarise yourself with all the modes. So here they are:
These are the 7 modes that you should be remembering. Now, lets look at some funny sentences that you can form with the first alphabet of the above modes i.e I,D,P,L,M,A,L
- If Deep Purple Liked Madonna A Lot
- I Don’t Play Like Mike And Larry
- I Don’t Pee Like My Aunt Lucy
- Ignorant Dogs Piss Like Mad Against Lamp-posts
These are just some suggestions, you can come up with your own to remember the order. The most important thing is, you should get started someday with modes. It is not possible to reach the level of Guitar-awesomeness unless you are proficient with these concepts. For a guitar players that knows the concept of modes and it’s application, simply playing major and minor is like watching a black and white movie in a 33 inch LCD television.
On that note, we are going to end our discussion. I hope this was informative and entertaining at the same time. Do reach out to me if you have any questions or if you would like to explore the world of modes further. The whole point of this article is to ensure that people get interested in the concept of modes and start exploring the limitless possibilities. Google is your friend so research some more on this and get started.
“If there’s ever an obscene noise to be made on an instrument, it’s gonna come out of a guitar … that’s why I like it.” —Frank Zappa
I like this quote from Frank Zappa. While I don’t think any of the examples below could be deemed obscene, I love to hear a guitar do things only a guitar can do, and create music that only a guitar can make.
One of the things that makes the guitar unique is that there’s more than one place to play a note—sometimes three or four. Also, guitarists have multiple ways to articulate notes: slides, bends, open strings, fretted notes, harmonics, hammer-ons, pull-offs.
Cross-string technique is when we use a combination of fretted and open notes on non-adjacent strings to play scales, melodies, or lines. Also, it’s a great way to improve your knowledge of the fretboard.
Using cross-string technique is a cool way to get a unique sound from even relatively common scales. Once you become familiar and comfortable with this approach, you can use it to spice up your own runs and compositions. Often, I’ll search for an open string or harmonic to use instead of a fretted note, and if I think this alternative sounds intriguing, I’ll use it.
Below, I’ve notated some useful scales in some common open tunings, and included examples for each tuning from my new fingerstyle guitar album, Invitation to Joy.
You can easily modify many of the scale examples to create a different scale. For instance, in the E minor examples you can raise C natural to C# and experiment with an E Dorian (E–F#–G–A–B–C#–D) sound.
EADGBE (standard tuning)
Ex. 1 is a basic G major scale (G–A–B–C–D–E–F#) pattern that can be easily altered to play modes as well. (Hint: Lower the F# to F to get Mixolydian, or raise the C to C# for Lydian.)
I find Ex. 2 useful because the E minor scale (E–F#–G–A–B–C–D), which is also called E Aeolian, is commonplace for guitar players. Again, you can easily alter it to get some interesting modal sounds. For example, raise the C to C# to get E Dorian.
Offering plenty of string skipping to challenge your picking-hand technique, Ex. 3 is an alternative and sonically adventurous way to navigate a two-octave E Aeolian scale.
Ex. 4 is a shimmering G major scale fingering. The majority of the notes are at the 7th fret, which makes it easy to come up with some compelling licks. Experiment with Mixolydian and blues sounds by adding the b5 (Db) and b7 (F).
We move back to E minor for Ex. 5. Adding a Bb to this fingering will move you closer to some Jerry Reed- or Tommy Emmanuel-inspired sounds.
In Ex. 6 we take a look at an excerpt from one of my songs, “Time’s Arrow.” Here, I’m using notes from E Aeolian with a C in the bass, as well as throwing in a few harmonics for color.
We use the E blues scale for this passage (Ex. 7) from my composition, “Bounce.” It’s a fun lick that combines crosspicking, hammer-ons, and some harmonics.
Ex. 8 moves on to a rather common alternative tuning: DADGAD. To get here from standard tuning, simply lower your 6th and 1st strings down a whole-step to D, and then lower your 2nd string down a whole-step to A. In our example we’re sticking with the D major scale (D–E–F#–G–A–B–C#).
I love the sound of the D Dorian mode (D–E–F–G–A–B–C) in DADGAD. Ex. 9 is one way to snake through this sound.
The major pentatonic scale (1–2–3–5–6) also lends itself well to DADGAD tuning. Ex. 10 shows you how to cascade through D major pentatonic (D–E–F#–A–B).
Ex. 11 tackles the minor pentatonic (1–b3–4–5–b7) scale; here we’re working through D minor pentatonic (D–F–G–A–C).
Even though DADGAD works well in both major and minor settings, you can create more exotic sounds rather easily. In Ex. 12, I worked up a fingering for a scale that can go by a few different names. It’s known as D Phrygian dominant (D–Eb–F#–G–A–Bb–C) or the fifth mode of G harmonic minor. Check it out.
DADGAD plus Mixolydian equals instant British folk vibe. Featuring D Mixolydian (D–E–F#–G–A–B–C), Ex. 13 is a roadmap to this enchanting sound. Remember, these are just frameworks to get under your fingers. It’s up to you to discover the music within these shapes.
Here’s what I mean about coaxing music from scale patterns. Ex. 14 is an excerpt from one of my tunes, “El Camino De La Muerte.” Here we’re using DADGAD, but with a capo on the 2nd fret. This mostly lives in D Mixolydian.
DADF#AD (open D)
Not surprisingly, open D tuning is great for playing in the key of … D. Ex. 15 is a basic major scale fingering using open strings.
The major pentatonic scale is generally more useful than the full major scale. Play through Ex. 16, which is a pentatonic fingering, and see where you can coax out some melodies. Tip: Don’t be afraid to change the bass note.
Ex. 17 is a short passage from my tune, “A Little Gift” that uses the major scale with a capo on the 4th fret (it will sound like it’s in the key of G). Here I combine both the major pentatonic and the major scale.
CGCGCE (open C)
Our next tuning is open C. You’ll likely want some slightly heavier bass strings for these. Tune your 6th string down to C, your 5th down to G, 4th down to C, and 2nd up to C. Ex. 18 is a simple major scale and Ex. 19 is an alternative fingering.
The C major pentatonic (C–D–E–G–A) is shown in Ex. 20. Remember, this scale is very useful.
We head to C Dorian (C–D–Eb–F–G–A–Bb) for Ex. 21. Since a fair amount of these notes are fretted, experiment with lowering the A to Ab for an Aeolian sound. Ex. 22 shows a different fingering for C Dorian.
As you can see, even though we are tuned to a major chord, there are ways to play in minor settings. Ex. 23 is a C minor pentatonic (C–Eb–F–G–Bb) fingering over three octaves.
In Ex. 24, we hit the C blues scale (C–Eb–F–Gb–G–Bb) for some tangy sounds. A lot of notes here, but hone in on what grabs your ear and make something out of it. In Ex. 25, we expand the C blues scale by adding a D (2) to the mix, creating a jazzier sound.
Our final group of examples are all small excerpts that show how you can take these bits and pieces of scales and make some actual music out of them. Here’s an excerpt from “The Lark” (Ex. 26) where I put a capo on the 2nd fret, which moves everything into the key of D.
Ex. 27 is also from “The Lark” and shows how you can outline a chord progression with some well-placed open strings.
The next example (Ex. 28) is an excerpt from “Coyote” and I’ve offered two versions at different tempos. It’s especially fun to work this up to speed.
Our final example is from “M Street Breakdown” and illustrates how to work through a Mixolydian/blues sound in open C tuning. Big fun.
Fingerpicking Christmas Songs: 15 Songs Arranged for Solo Guitar in Standard Notation & Tab (Fingerpicking Guitar)
(Guitar Solo). 15 songs carefully written for intermediate-level guitarists, combining melody and harmony in superb fingerpicking arrangements. An easy introduction to basic fingerstyle guitar is also included. Songs: All I Want for Christmas Is My Two Front Teeth * Baby, It’s Cold Outside * Caroling, Caroling * The Christmas Waltz * Have Yourself a Merry Little Christmas * I Heard the Bells on Christmas Day * The Little Drummer Boy * A Marshmallow World * Mary, Did You Know? * Mele Kalikimaka * Silver and Gold * Sleigh Ride * White Christmas * Winter Wonderland * Wonderful Christmastime.
Are you tired of trying to remember all your best guitar riffs? Wouldn’t it be nice to have something you could store all your best material in? Then, “The Mini Blank Guitar Tablature Notebook” is for you!
“The Mini Blank Guitar Tablature Notebook: Six-String Guitar Tab Manuscript Paper” has 100 pages of blank guitar tablature for you to fill with your best song compositions, music studies and learned riffs. Every page is filled with 11 staves (song bars) to fill in all the information about the song you compose. Never lose or forget your newest song creation again with this book in your hands.
AND IT’S HIGHLY PORTABLE
No more having to carry around a bulky songbook. This book is a perfect size at 6 x 9 inches. You can slip it in your backpack or music case and the book will not take up much room.
Scroll Up & Click the Buy Button Now to Start Writing Out Your Best Song Compositions
Dear fellow guitarists, let me quote my previous article about my BOSS PSM-5 Power Supply & Master Switch which I almost discard providing it would not operate normally as it should be. Quote:
BOSS PSM-5 Power Supply & Master Switch I am telling you about has to end its service to me in two options: first, I will give it a last shot by drawing a direct wire to external grounding source. If the loud humming could be cured this way, then I will keep it. If not, then it must go to the second final option: it has to go to the garbage bin. Cross out the store where I bought it from and I will ring another friend whose musical store is now getting famous in town to get a new fresh BOSS PSM-5 Power Supply & Master Switch.
I did him call asking for a new fresh BOSS PSM-5 Power Supply & Master Switch,he was not in, one of his storekeeper answer. I pass the request to him getting shocking answer that BOSS PSM-5 Power Supply & Master Switch is discontinued. What is the newer version then? Nothing, we have better option which is a more powerful adapter plus power supply to handle your pedals. How about the Master Switch function? Cannot, you must turn your pedals On/Off individually…click! I hang on my phone before he finish his words. What the shell is he talking about?
After calm down I took a look at my legendary BOSS PSM-5 Power Supply & Master Switch and start thinking to myself. If it has to end this way then let it be. Let bygone be bygone. Before I said goodbye to it, Professor J’s last words before I left his place popped up in my mind and ringing in my ears.
- ” This system rely only on this point as its grounding contact…”
- ” This system rely only on this point as its grounding contact…”
- ” This system rely only on this point as its grounding contact…”
I hope you can see clearly this a bit out of focus pic of my BOSS PSM-5 Power Supply & Master Switch showing thin flat washer and nut I removed from the Amp output socket. That should be the exact points of these nuts that drive me nuts! That is exactly the point “Professor J” showed me that evening. They are supposed to built a good surface to surface contact to the 1/4 mono plug at each of the BOSS PSM-5 Power Supply & Master Switch Amp and Guitar output sockets. I wish I have a better cam with me to take macro pic of the rotten rusted surfaces and edges of these nuts.
The tiny red straw is of rust remover spray. I washed clean all of the BOSS PSM-5 Power Supply & Master Switch Amp and Guitar output sockets by spray rust remover agent on and wipe them clean with tissue paper some 3 minutes afterwards. Pay special attention to clean the threaded section, rust and dirt perfect hide. I gently rubbed the thin nut and flat washer on an extra fine sandpaper soaked with rust remover liquid. I do not have to show you how a melted rust looks like, right? Repeat the steps twice, re assemble them, plug the BOSS PSM-5 Power Supply & Master Switch back into its BCB 5 carrying box, plugin my Leo Fender’s handmade G&L, turn on my Peavey Bandit and let the BOSS PSM-5 Power Supply & Master Switch determines its own faith.
Slowly crank up the volume knob and I wondered for a second if things were getting worse instead because I heard nothing out of the speaker. I was surprised it was at 9 o’ clock position and I heard just quite soft hissing like a snoring kitten. Rather than the used to be barking humming noise.