Guitar Jam

Ken's Corner: Guitar Improvisation for Starters - Lesson #18

By Ken Volpe
This is Lesson #18 in a series on Guitar Improvisation. Last week in Lesson #17 we started our discussion on theory pertaining to the guitar. Let’s continue.

You have your chord progression from last week all set to go. The chords in the progression are A Major, D Major, and E Major. As a side note, you can also refer to these three chords as simply A, D, and E. In other words, if you are just using the letter name to describe a chord it is understood that it is a Major chord.

You now want to hit “play” on your CD player or looper and create a great solo. So what scale do you use? Three options come to mind.  Option 1 is for you to solo with the A Minor Pentatonic Scales. We touched on using these scales in some earlier lessons. They will work, but it’s not really your best choice. Why?  First, that sound has been used countless times and can be too much of a cliché.  Secondly, some of the notes of the scales don’t match the notes of the chords. What really matters is the sound when scales and chords mesh. 

Let’s now take a closer look at this. The notes in an A Minor Pentatonic Scales are A, C, D, E, and G.  The A Major chord contains notes A, C# and E.  The C# note is not found in our A Minor Pentatonic Scale. The D Major chord contains notes D, F# and A. The F# note is not found in our A Minor Pentatonic Scale.  The E Major chord contains notes E, G# and B. The G# and B notes are not found in our A Minor Pentatonic Scale.  Hence, some of the chord tones will clash with the scale tones.

This brings up a Catch-22 dilemma. We started out learning improvisation with a specific Minor Pentatonic Scale. That 1 scale works early on because of its simplicity in terms of the fingering and the sound. However, some of the notes aren’t a perfect fit for some chords, as we just discussed earlier.  So in a sense, I am telling you that what used to be accurate is now not so accurate. Trust me; once you see the bigger picture this will all make sense. You have to learn theory in small fragments and you need to start applying the theory early on, so you can retain it.

This week I would like you to concentrate on hearing how some of the notes of the scales do not match with some of the notes of the chords. This will help to develop your ear. Training your ear is really the awareness of what sounds will fit and what sounds do not fit within the context of a song.  Once again, the sound of what occurs when scales and chords mesh is paramount. That is where the magic happens. In just about every classic solo ever recorded this is evident. Whether it’s B.B. King, AC/DC, Eric Johnson or Joe Pass, that scale/chord relationship is what you should listen for. 

In next week’s lesson we will discuss Option 2 in regards to what scales we can improvise with that will fit our chords progression. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson 17

By Ken Volpe
This is Lesson #17 in a series on Guitar Improvisation. Last week in Lesson #16 we finished up learning about note bending.

So far in this lesson series we have covered Pentatonic Scales in 12 keys, rhythm, licks, and note bending. The next few lessons will be dedicated to theory pertaining to the guitar.

I wanted to mention a few items before we get started. Learning music is an extremely vast subject. I have been teaching guitar for over 25 years, which amounts to over 35,000 lessons…yikes!  During this time period I have come to really understand how people learn. What are the pitfalls that hold them back and what is really effective in helping them achieve their musically potential. 

Here are a few widely held beliefs about learning to play the guitar:

1. A guitarist should study all aspects of music.

2. A guitarist should never skip over or rush through when learning the fundamentals of music.

3. A guitarist should always work on new and challenging areas of study.

*Later we will talk more on this topic as well as time management and good practice habits.

Okay, let’s get to the theory. We are going to use the following 8 bar chord progression throughout our next few lessons on theory.

A MAJOR / D MAJOR / A MAJOR / A MAJOR
E MAJOR / D MAJOR / A MAJOR / E MAJOR

Please record a background track using these chords at a slow tempo. This progression should be repeated many times on your recording or use a delay looper.

Here are the notes of the 3 chords: 

    A MAJOR = A, C#, E
    D MAJOR = D, F#, A
    E MAJOR = E, G#, B

These 3 chords are derived from the A Major scale. The notes in the A Major scale are as following:  A, B, C#, D, E, F#, G#, A. Take notice that the notes found in all 3 of our chords are found in the A Major scale as well.

I would like you to memorize the notes of the above 3 chords and of the above A Major scale. Also, I would like you to practice 3 different chord sets for the above chord progression. You should be able to locate a variety of chord voicings in a good basic chord book. 

In next week’s lesson we will discuss what scales we can improvise with that will fit our chord progression. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #16

By Ken Volpe
This is Lesson #16 in a series on Guitar Improvisation. Last week in Lesson #15 we worked with bending notes in multiple Pentatonic Scale forms.

In the previous 3 lessons we utilized the 1-step bend. We have been bending our notes from within a specific Pentatonic Scale form. Also we have only been playing straight bends without any other technique. This week we are going to take note bending a bit further.

First let’s try some 1/2-step bends. A 1/2-step bend produces the sound of a note, 1 fret higher than the original fretted note. For now, all your 1/2-step bends will be notes that are outside of the scale. 

Practice the following 1/2-step bends, using your ring finger:

From within Form #1:
Bend on the E-string at the 7th fret
Bend on the B-string at the 7th fret
From within Form #5:
Bend on the G-string at the 4th fret
Bend on the D-string at the 4th fret

Keep in mind that the starting notes for these bends are not specific scale tones. However, the pitches that are produced from these note bends end up as a scale tone.

Now, let’s try some other bending techniques. I’d like you to bend the note and then mute it before the note returns to its original pitch. You can mute it with your right hand. 

Try this technique with these bends:

Play a 1/2-step bend on the E-string at the 7th fret
Play a 1-step bend on the G-string at the 7th fret

I’d like to introduce 1 more technique; a bend followed by a pull-off. Here is a detailed explanation.  Play a 1-step bend on the G-string at the 7th fret, then release that bend back to its original pitch of the 7th fret. The 3rd note is played by employing a pull-off with the ring finger to produce the note at the 5th fret. You will need to keep your index finger planted on the 5th fret the entire time.  So 3 pitches are produced. The 1st note, the bend is an E note. The 2nd note, the release is a D note.  The 3rd note, the pull-off(at the end of the pull-off) is a C note.

Remember to utilize your ear, so your bends are in pitch. Also remember to play your bends in many different keys. Lastly, I would encourage you to try these bends along with any and all of the chords from the rhythm section.

This concludes our lessons on note bending. Note bending is a vast topic and we will revisit it down the line.

In next week’s lesson we will move onto a new topic relating to improvisation. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #15

By Ken Volpe
This is Lesson #15 in a series on Guitar Improvisation. Last week in Lesson #14 we worked with bending notes on the A and D strings. 

So far we have been bending notes within Form #1 of the A-minor Pentatonic Scale. I’d like to give you a few new bends within some of the other scale forms of the A-minor Pentatonic Scales. 

Practice the following 1-step bends, using your ring finger.

From Form #2:

Bend on the B-string at the 10th fret
Bend on the E-string at the 10th fret

From Form #3:

Bend on the G-string at the 12th fret
Bend on the B-string at the 13th fret

From Form #5:

Bend on the B-string at the 3rd fret
Bend on the E-string at the 3rd fret

Once you are comfortable playing the above bends and the bends from Lesson #13 and #14, transpose these bends to other keys.  Let me be more specific.  This week’s bends in the key of G-minor Pentatonic would be as follows: 

From Form #2:

Bend on the B-string at the 8th fret
Bend on the E-string at the 8th fret

From Form #3:

Bend on the G-string at the 10th fret
Bend on the B-string at the 11th fret

From Form #5:

Bend on the B-string at the 13th fret
Bend on the E-string at the 13th fret

Helpful hint: Be aware that bending notes from 3rd to 5th fret area is more difficult. Be careful to avoid finger strain.

I have given you a good jumpstart in regards to common bends over the past few weeks. There are certain points on the fretboard within each scale form that are your “go to” or should I say “ideal” notes to bend. These bends exist in countless Blues, Rock and Jazz solos. 

In next week’s lesson we will wrap up our work on note bending. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #14

By Ken Volpe
This is Lesson #14 in a series on Guitar Improvisation. Last week in Lesson #13 we started to learn bending notes on the G, B, and E strings, utilizing 1-step bends. This week let’s try something a bit different. 

I want you to play a 1-step bend at the 7th fret on the D string. Then I want you to try another bend, play a 1-step bend at the 7th fret on the A string. This time I want you to try play those bends in a downward motion, pulling the string(s) toward the ground. Remember to place your middle finger and your index finger behind your ring finger for extra strength and control. 

Now I would like to discuss bending notes in regard to neck position. A lot of guitarists’ biggest nemesis is losing their location point. In other words, if you leave a scale position or substitute another finger you can lose your position. In Lesson #1 of this series, I explained the 1 finger per fret rule.  Please go back and review that lesson so that this all makes sense. Let’s assume we are playing Form #1 of A minor Pentatonic, starting at the 5th fret. So, if you are bending a note at the 8th fret on the B string with your ring finger you need to keep your bearings when going back to the normal scale position. Usually your pinky would be covering that 8th fret area. When you substitute the ring finger at the 8th fret, it’s natural to mistakenly land the index finger on the 6th fret of the B or E string, as a possibly note choice. In this case, that note at the 6th fret is not a scale tone and might sound odd to your ears. The solution is to make sure that you jump back to the 5th fret, returning to the original scale position. After you get comfortable with your bends and finger substitution, you will jump back into position with ease and accuracy. Another possibility is to bend that 8th fret note with your pinky then none of this will be an issue. However, I would suggest for now that you do all your bends with your ring finger. Later we will introduce bending notes with other fingers.

In next week’s lesson we will continue working with bending notes. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #13

By Ken Volpe
This is Lesson #13 in a series on Guitar Improvisation. Last week in Lesson #12 we continued learning new licks. The next few lessons within this series will be dedicated to note bending. Note bending is an alternative technique to make your licks and solos more interesting.

Bending a note(s) on the guitar is an excellent way of musical expression. There are many ways to bend a note. For now we will stick with 2 basic types; the 1/2-step bend and the 1-step bend. The 1/2-step bend produces a note that is a 1/2 step or 1 fret higher than the original note. The 1-step bend produces a note that is 1 step or 2 frets higher than the original note. 

When you are first learning to bend notes it usually works best to use the ring finger of your left hand.  In addition, it is helpful to keep your middle finger and your index finger behind the ring finger on the same string for extra strength and control. So if you bending a note on the 7th fret of the G-string, your ring finger is at the 7th fret, your middle finger is at the 6th fret and your index finger is at the 5th fret. You can also bunch those same fingers closer together within a 2 fret area to accomplish the same thing. 

Let’s use the 7th fret on the G-string as our first bending point. Try a 1-step bend in an upward direction towards your chin. You can test the accuracy or intonation of your note by listening to the sound of the fretted note you are going for. For example, play your 1-step bend from the 7th fret, than play the regular fretted note at the 9th fret without bending. They should sound the same. 

Next, try a 1-step bend on the B string at the 8th fret and also try a 1-step bend on the E string at the 8th fret. Try mixing in some of these bends with your licks. My suggestion is for you to continue playing along with your A Blues rhythm track to practice your bends and licks.

In the near future, we will be expanding this lesson series with audio and video samples to give you more guidance in the learning process.

And in next week’s lesson we will continue working with bending notes. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #12

By Ken Volpe
This is Lesson #12 in a series on Guitar Improvisation. Last week in Lesson #11 we started applying specific licks to specific chords. In this week’s lesson we will learn 3 more new licks to apply to our chords.

Let’s review last’s week 2 rules to develop continuity. Rule #1, make sure that the first note of your lick is the root note of the chord. For example, if A7 is the chord, play a lick that starts with an A note. Rule #2, try to end your lick on the note of the key you are in. For example, if you are in A blues, end your lick on an A note. These are basic rules that will keep it simple and help your ear to know the sound of the key you are in. I suggest that you apply either or both rules at this stage of the game.

Here are 3 new licks - see diagrams.

Let’s start with the chords. The notes are:
A7 = A, C#, E, G
D7 = D, F#, A, C
E7 = E, G#, B, D

Now let’s look at our new licks. The notes are:
Lick #5 = A, G, A, G, C, A
Lick #6 = D, A, C, A, G, E, A
Lick #7 = E, E, D, E, C, A, G, A

Let’s look at matching our licks to chords. For A7, play Lick #5 (both Rules 1 & 2 apply). For D7, play Lick #6 (both Rules 1 & 2 apply).  For E7, play Lick #7 (both Rules #1 & #2 apply).

So you now have 7 total licks. Here is a quick way to double that, giving you 14 total licks. Play each lick backwards. In other words, make the last note of the lick your first note and work your way back to the start.

Some of these backward licks will sound strange. This is due to the fact that your ear has begun to get use to our 2 rules of continuity and these rules may not apply to some of the backward licks.  Don’t let that bug you.

Once you have become comfortable matching licks to chords, try any of your licks with any of your chords. The key is to diligently explore this new territory and have fun at the same time.

In next week’s lesson we will continue working with licks. I’ll see you all at the next lesson.

Contact Ken: [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #11

By Ken Volpe
This is Lesson #11 in a series on Guitar Improvisation. Last week in Lesson #10 we started to learn our first licks.  I hope that you had fun jamming with your new licks. In this week’s lesson we will continue to work with licks.

Most guitar solos have continuity. One way to create continuity is to have your licks and your chords be happily married.  While you were jamming you may have noticed that certain lick(s) worked better with certain chord(s). To get a better understanding of this, we need to know what the notes are in our licks and in our chords. 

Let’s start with the chords. The notes are:
A7 = A, C#, E, G
D7 = D, F#, A, C
E7 = E, G#, B, D

Now let’s look at the licks. The notes are:
Lick #1 = A, G, E, D, C, A
Lick #2 = E, G, A, C, C, A
Lick #3 = G, G, E, D, C, A, G, A
Lick #4 = C, D, E, C, A, G, A

Let me give you 2 rules to develop continuity. Rule #1, make sure that the first note of your lick is the root note of the chord. For example, if A7 is the chord, play a lick that starts with an A note.  Rule #2, try to end your lick on the note of the key you are in.  For example, if you are in A blues, end your lick on an A note. These are basic rules that will keep it simple and help your ear to know the sound of the key you are in. I suggest that you apply either and/or both rules at this stage of the game.  As you progress, we will introduce other more advanced concepts.

Let’s get back to matching our licks to chords. For A7, play Lick #1 (both Rules 1 & 2 apply). For D7, play Lick #4 (only Rule #2 applies). For E7, play Lick #2 (both Rules #1 and #2 apply).

After you get comfortable applying these rules to your licks, you can utilize any of the remaining lick(s) with your chord(s). Use you ears and really hear how the notes blend with the chords. Don’t try to play too many notes, hearing it and feeling it are way more important than burning up the fret board. 

In next week’s lesson we will continue working with licks. I’ll see you all at the next lesson.

Contact Ken - [email protected]

Ken's Corner: Guitar Improvisation for Starters - Lesson #10

By Ken Volpe
This is Lesson #10 in a series on Guitar Improvisation. Last week in Lesson #9 we worked on rhythm.  In this week’s lesson we are learning our first licks.

A lick is a group of notes that is played in a melodic fashion. A lick can be played repeatedly or it can be played one time as part of another melodic idea. Guitarists can play a lick in a melody, in a solo, or as a fill. A lick often originates from a specific scale. Certain scales work well with certain chords hence, certain licks work well with certain chords. That being said, we need to set the groundwork for applying these licks.  You will need to practice yours licks with some backing tracks.  Preferably, backing tracks that don’t contain any lead guitar or other solo instruments. Drums, bass, and rhythm guitar make up an ideal backing track for jamming. You can record your own tracks or obtain pre-recorded tracks from a number of sources. For this lesson, your backing track should be an A Blues.  The chords will be A7, D7, E7.  In an upcoming lesson, I will be going into greater detail about chords and their relationship with scales, licks, etc. 

The licks you will be playing will all originate from the A minor Pentatonic Scale.  (See diagrams.) 

Here’s how it works. Play the recording of your backing tracks and start playing along with the track using these new licks. At this point, I’m throwing you to the wolves. In other words, use your musical instincts to work this out. Work hard at it but try to have fun as well. Later on, I will give you more guidance on applying these and other licks to your backing tracks. One last thing, you should also practice these licks by themselves to continue to build up your chops. 

In next week’s lesson we will continue working with licks. I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #9

By Ken Volpe
This is Lesson #9 in a series on Guitar Improvisation.  Last week in Lesson #8 we started working on rhythm.  In this week’s lesson we will continue with that discussion. 

We started out by playing our scales with the metronome.  I suggested setting the metronome at 80 BPM and playing 1 note per click.  Hence, only playing on the downbeat. 

Now, we will slow down the metronome to 60 BPM. This time however, we will play the 1st scale note on the downbeat and the 2nd scale note on the upbeat.  Then continue by playing the 3rd note on the downbeat and the 4th note on the upbeat.  Finish the scale following this pattern.  In addition, you should continue to tap your foot but count out loud saying, “1and 2 and 3 and 4 and.”  The “1” is for the downbeat, the “and” is for the upbeat, the “2” is for the downbeat, the “and” is for the upbeat, the “3” is for the downbeat, the “and” is for the upbeat, the “4” is for the downbeat and the “and” is for the upbeat.  You should also continue playing with alternate picking.  This actually works out very well because the down strokes will occur on the downbeat and upstrokes will occur on the upbeat. Soon this rhythmic pulse will become second nature to you.  Again, I’d like to emphasize that counting out loud and tapping your foot along with the metronome will be very beneficial for your musicianship.

As I mentioned in last week’s Lesson #8, push up the metronome tempo gradually to build your chops.  Don’t force it or rush your playing.  Playing with accuracy should be your number one goal.

In next week’s lesson we will start learning our first licks.  I’ll see you all at the next lesson.