How To Teach Yourself Guitar Lessons Online

Guitar Lessons Online Are Easier Than You May Think

This is a demonstration for our newer visitors to GuitarTicks.com, who are still contemplating whether it’s possible to teach yourself guitar lessons online. The blunt answer is yes, thousands of people do it every day, just like the thousands of registered students at TheGuitarLesson.com. Don’t want it to sound like bragging, but I get at least 5-6 thank you letters per day from my online students from around the world, which shows you that you can definitely learn the guitar online.

guitar lessons online

Teach Yourself Guitar

Online guitar lessons videos are aimed at newbie guitarists who would rather teach themselves the guitar, than learn with a personal teacher. There are many reasons why people learn the online, the most popular beging less costs and no scheduling conflicts. Whatever your motivation, know that it is totally possible to teach yourself the guitar online.

How can we help you get started?

You’ll find video guitar lessons online teaching basic techniques, which will get you off in the right direction. Once you are comfortable with the basics, you can learn dozens of popular, yet easy songs on our site as well. Each one of our video guitar lessons has on-screen animated tabs, scale and chord diagrams, which make learning the guitar much easier, since you don’t need to look at any reference material other than the screen. Once you feel like it, you can dive in and learn guitar theory on our website as well, so you can find out why chords are constructed the way they are, which scale fits which type of music, etc. You’ll also find a variety of online guitar tools, such as our online guitar tuner, jam tracks, Guitar Pro tabs, and more useful widgets to help you teach yourself the guitar.

All in all, guitar lessons online are a thorough resource for beginner to intermediate and even advanced guitarists. If you are thinking about whether learning the guitar online, without the help of a personal teacher is possible, I can assure you it is. It takes dedication and practice, just like it would with a personal teacher. The old saying, “practice makes perfect” is all the more important when you want to learn the guitar, so don’t wait, grab your axe and start learning.

GuitarTricks is your source for beginner guitar lessons.

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This post appeared first at Teach Yourself Guitar Lessons Online on TheGuitarLesson.com, thanks for reading.

How to Effortlessly Play Pentatonic Scale Over Three Octaves

Improvising With The Pentatonic Scale

In this lesson, we are going to expand on my previous lessons—“How to Seamlessly Play Arpeggios Over Three Octaves” and“How to Seamlessly Play 7th Arpeggios Over Three Octaves” —while adding pentatonic scale to the mix. Not only will this lesson help expand your musical vocabulary, but it may also change how you visualise and navigate the fretboard.

So what is the pentatonic melody? 

Pent stands for the number five which is how many notes this scale contains and Tonic means the root note of the key which is called the tonic note as in the C Major scale the C is the tonic or first not of the key. This scale is believed to have originated from Asia and is known as an exotic scale leaving out some important intervals like in the pentatonic minor scale omitting the 2nd and 7th notes of the major scale which are very resolving notes in the scale allowing you to play it over other chords with no clashing notes.

The six strings of the guitar can be looked at as three pairs of strings. The first pair being the low E and A strings. The second pair being the “middle” D and G strings, and the third pair being the B and high E strings.

Whatever pattern of notes you play on the first pair of strings, you can repeat an octave higher by simply performing the same thing on the next pair of strings, but two frets higher. You can do it again, another octave higher, by performing the same thing on the next pair of strings, albeit three frets higher up the neck than before.

In this lesson, we will do this with the five positions of the A minor pentatonic scale. Below are the five positions of the pentatonic scale played over three octaves. Check out the video above for specific fingerings, and to see and hear these examples.

A Minor Pentatonic Scale

The pentatonic scale is very often used in writing vocal melodies Make sure to practice these slowly, with alternate picking, transitioning from octave to octave by simply moving your whole hand up the neck, keeping the ‘shape’ of the pentatonic scales in your hand.

Guitarist Adrian Galysh is a solo artist, session musician, composer and educator. He’s the author of Progressive Guitar Warmups and Exercises. Adrian uses Suhr Guitars, SIT Strings, Seymour Duncan pickups and effects, Brian Moore guitars, Voodoo Labs, D’Angelico guitars and Morley pedals. For more information, visit AdrianGalysh.comGuitarWorld.com readers can enjoy a FREE five-song EP download by clicking HERE.

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Heres The History of Heavy Metal Guitar All in One Song

A Short History Of Metal Guitar Playing

‘Heavy Metal guitar sure has evolved a lot over the years. Throughout the decades, the genre went from a type of heavy blues rock to death metal to out there sub genre to doom, leaving scores of new mixed genres in its wake.

In this well-conceived video on YouTube, whose videos have been featured on this site in the past, we watch as a faceless guitarist (equipped with a seven-string Ibanez) tracks metals progress over the course of one five-minute song, from blues rock to djent.

Heavy metal (or simply metal) is the use of highly-amplified electric axe in heavy metal. Heavy metal guitar playing is rooted in the playing styles developed in 1960s-era blues rock and psychedelic rock, and it uses a massive sound, which is characterised by highly amplified distortion, extended guitar solos and overall loudness. The electric and the sonic power that it projects through amplification has historically been the key element in heavy metal. The heavy metal sound comes from a combined use of high volumes and lots of distortion.

Metal guitar bands often have two electrics, with one playing rhythm and one guitarist playing lead parts. The rhythm guitar player is part of the rhythm section of the band, along with the bass guitarist and the drummer. The lead guitarist plays guitar solos, instrumental melody lines and melodic fill passages. In power trios, which consist of a guitarist, bassist and drummer, with one or more members singing lead vocals, the single guitarist will switch between rhythm guitar and lead guitar roles as needed.

Popular Metal Guitar

Rhythm guitar

Metal guitar isn’t only for the lead guitarist but also for the rhythm guitar player who is part of the rhythm section of the band, along with the bass guitarist and drummer (and in some bands, a keyboard player). The rhythm guitarist typically plays power chords and riffs using an electric guitar that is plugged into a guitar amplifier, with either the amplifier and/or a distortion effect pedal creating a thick, heavy, distorted sound. The rhythm guitar player plays chords and riffs that create, along with the bass and drums, the rhythmic sound of a metal song. The rhythm guitar also plays the chord progression of a song, along with the bass player (and, if the band has one, the keyboard player).

In 1966, the British company Marshall Amplification began producing the Marshall 1963, a guitar amplifier capable of producing the distorted “crunch” that rock musicians were starting to seek. With rhythm guitar parts, the “heavy crunch sound in heavy metal…[is created by] palm muting” the strings with the picking hand and using distortion. Palm muting creates a tighter, more precise sound and it emphasises the low end.

One of the most noticeable elements of metal bands is the screaming vocals that seem to be present in this genre of music. Some rhythm guitarists sing lead vocals or backup vocals simultaneously as they play guitar.

 

 

 

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The Three Pillars of Improvisation

Guitar Improvisation Techniques

Guitar Improvisation

In one of Jude Gold’s recent No Guitar is Safe podcasts, we got to hear fusion extraordinaire Dean Brown discuss a bunch of interesting topics including guitar improvisation.

The interview took a turn mainly down the path of guitar impro. and inspired me to create an in-depth video based on Dean’s wisdom—plus some experiences I’ve had along the way.

The three pillars of solo improvisation support one another, so the stronger you get in one, the more effective you’ll be at improving the others. Ear training is the first pillar, and it’s also the hardest to quantify. Possessing a “good ear” can be subjective, but typically it means being able to fit into a band situation seamlessly, using good vibrato and playing off of other musicians in a lyrical way. The best way to improve this pillar is to learn some of your favourite guitar players’ riffs and guitar improvisation without any tabs or notation. This method forces you to depend on your ear to navigate the neck.

Pillar two is lexicon (that’s Dean’s word, not mine). You want to have a strong vocabulary of licks when using guitar improvisation to be fluent in whatever genre you choose. Ear training is obviously important as a supporting pillar, as you’ll rely on it to learn the licks of those who came before you.

Watch the video below to learn the final pillar of guitar improvisation and how they each support the other to help you focus on becoming the best improviser you can be.

Tyler Larson is the founder of the guitar-centric website Music is Win. His entertaining guitar-related content receives hundreds of thousands of video views on Facebook per month, and his online guitar courses that talks about guitar improvisation a lot, has more than 1,500 students with a cumulative 4.7 rating on Udemy. Get in touch with Tyler on Facebook, watch more of his guitar lessons and vlogs on YouTube, and follow him on Twitter and Instagram.

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Why Using Chord Finger Positions To Springboard Your Soloing Helps

Chord Finger Positions For Different Melodic Sounds

Chord Finger Positions

In the past, we’ve focused on applying various approaches to two-chord vamps for both rhythm guitar chord finger positions and soloing.

Many players have a difficult time breaking away from commonly used chord shapes when playing rhythm; in truth, moving to new areas of the fretboard for your rhythm parts will also inspire different melodic shapes. Let’s continue our look at a two-chord I-IV (one-to-four) vamp in the key of E, comprised of a repeating, two-bar E7-A7 progression.

Of the many songs built from I-IV progressions, the most common jam tunes using different chord finger positions are “Turn on Your Love Light,” originally cut by Bobby “Blue” Bland and famously covered by the Grateful Dead, as well as Traffic’s “Feeling Alright” and the Allman Brothers’ “Blue Sky.”

We began our investigation into playing an E7-A7 vamp, with accompanying solo lines, in fifth position and then moved the same approach down to second position. We’ll now do the same thing in seventh and ninth positions. The overall objective here is to become familiar with each fretboard area so that, ultimately, we can move freely from one position to another while playing rhythm and/or soloing, which will add variety to your musical options and performances.

FIGURE 1 illustrates a repeating E7-A7 rhythm part and different chord finger positions as played in ninth and seventh chords. Notice that the open low E and A strings are conveniently used as the bass notes for the chords. Allowing the open string to ring with each chord will serve as a pedal tone when solo lines are added in the gaps between the chordal accents.

An effective scale to use for soloing over the dominant seventh-based progression in the key of E is the E blues scale (E G A Bb B D), shown in FIGURE 2 in seventh position, starting from A. Remember that the idea is to add the single-note phrases in the same position as the rhythm part you’re playing.

FIGURE 3 brings the major third, Gs, into the mix, which serves to strengthen the connection to the E7 chord while also presenting greater melodic variation, resulting in an ascending note pattern of A Bb B D E G G# A Bb B D; the descending pattern also places the G natural before the G# in order for the major third, G#, to take intervallic precedence.

We can expand our melodic terrain even further using other chord finger positions by additionally bringing in the sixth, C#, at the top of our hybrid scale, as illustrated in FIGURE 4, resulting in an ascending pattern of A Bb B D E G G# A Bb B C# D. Now let’s apply these patterns to single-note melodies: in FIGURES 5 and 6, I play an E7 chord at the beginning of each two-bar phrase, adding solo lines following the A7 chord in bars 2, 4, 6 and 8.

Once you have these licks down, try improvising your own original chord-and melody phrases using this same approach.

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