Guitar Jam

Ken's Corner: Guitar Improvisation for Starters - Lesson #8

By Ken Volpe

This is Lesson #8 in a series on Guitar Improvisation. Last week in lesson #7 we learned to play in all 12 keys. This week we will discuss rhythm.

Many guitarists shy away from developing the rhythmic aspect of music. I would like to encourage you to pay attention to rhythm and work hard at it. Playing with a metronome early on is essential.  A metronome serves 2 main purposes; first, it will help you to achieve better timing.  Secondly, it can be used as a guide to build up your chops.  In other words, you can increase the tempo once you have mastered a scale or part at a slower tempo.  Gradually as you increase the tempo your technique gets stronger.  It reminds me of what a weightlifter will do to increase strength.  (Not that any of us wimpy guitarists know anything about lifting weights!)

Okay, let’s get started.  We will use F minor Pentatonic Form #1 (see Lesson #1).  Set your metronome to 80 BPM.  First, tap your first slowly and count out loud 1, 2, 3, 4  along with the metronome for a few bars.  This will help you establish your tempo.  Next, play 1 scale note per click of the metronome while counting out loud.  You will have 3 total bars per scale.  At this point we need to add a few more specifics.  A beat has 2 parts; a downbeat and an upbeat.  Your foot is down on the downbeat and is up on the upbeat.  The metronome clicks on the downbeat.  For now, we are playing in 4/4 time.  This means a quarter note is 1 beat and each bar contains 4 total beats.  Please continue to follow alternate picking. Beware, it can be tricky when using an upstroke on a downbeat.  Once you have mastered Form #1 with the metronome, feel free to move on to your other scale forms. 

In next week’s lesson we will learn to play on the upbeats.  I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #7

By Ken Volpe
This is Lesson #7 in a series on Guitar Improvisation.  Last week in Lesson #6 we learned all 5 scale forms of the F# minor Pentatonic Scale ascending and descending. This week we will learn to play the scales in all 12 keys. 

So far, we have learned the 5 minor Pentatonic Scales in the key of F and the key of F#. The simplest way to understand which key you are in is to remember that the 1st note of Form #1 is the key.  If you are starting at the 1st fret, you are in the key of F because the 1st fret is an F note.  Note: See Lesson #1 for Form #1 diagram. 

If you are starting at the 2nd fret, you are in the key of F# because the 2nd fret is an F# note.  Note: See Lesson #4 for Form #1 diagram.

There are 12 notes in our musical system; 12 starting frets and 12 keys.  We now know 2 of the 12 keys.  To learn the other 10 keys, 1 by 1, move to the appropriate starting fret and that is your key.  Here are the rest of the frets/notes/keys starting from the E string. 

FRET 3 = G
FRET 4 = G#
FRET 5 = A
FRET 6 = A#
FRET 7 = B
FRET 8 = C
FRET 9 = C#
FRET 10 = D
FRET 11 = D#
FRET 12 = E

FRET 13 is an F, which repeats the octave. 
We will discuss this further in a future lesson.

In our earlier lessons you might have played 1 scale form in 1 key repeatedly.  By now you have graduated to playing each of your scale forms one time while moving through the 12 keys.

When playing in all 12 keys you need to realize 3 things. 

- The 5 scale forms fingerings are the same for any key. 

-  Within each key the 2nd note of any scale form is always the starting note of the next scale form.  For example, in Form #1 of F minor Pentatonic the 2nd note is played at the 4th fret.  In Form #2 the 1st note is played at the 4th fret. 

-Once you get past the 15th fret drop down 1 octave to do your scale(s).  You can simply do this by subtracting 12 frets.  For example, if you are at fret 16, drop down to fret 4 for the lower octave. 

In next week’s lesson we will apply rhythmic elements.  I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #6

By Ken Volpe
This is Lesson #6 in a series on Guitar Improvisation.  Last week in Lesson #5 we learned the F# minor Pentatonic Scale ascending and descending.

This week we will learn the remaining 4 forms of the F# minor Pentatonic Scale ascending and descending. 

Let’s briefly review some instructions from last week’s lesson, which you can apply to this week’s lesson. 

•Do not pause between ascending and descending. 
•Make sure you do not play the pivot note twice.
•Make sure that you continue with alternate picking.

Okay, let’s jump in.  First, play Form #2 ascending (see diagram). 

Next, play Form #2 descending (see diagram). 

Then, play Form #2 ascending and descending.  For Forms #3, #4, and #5 apply the same principles.  For help, look back at previous lessons for diagrams.  You now have 15 separate ways to play the scales within 1 key. 

Helpful hint: Don’t play any of the scale forms ascending 5 times and then descending 5 times; play each of the 15 scales 1 time only. After you’ve completed the 15 scales, rest 1 minute and repeat the entire process.  Do this set of 15 scales 5 times daily. 

Later we will omit the single scale direction of ascending and descending.  We will play all our scales in both directions. 

I would like to end this week’s lesson with some words of encouragement.  The title of this lesson series is Guitar Improvisation for Starters.  I’m sure some of you are saying, “It’s Lesson 6 and I haven’t begun improvising.  What gives?”  As I alluded to in an earlier lesson, many hours of practice is required to develop proper technique.  Once you have developed your technique, you will begin improvising.  There are many upcoming lessons in this series.  Be patient and be diligent on a daily basis and it will happen for you. In next week's lesson we will cover all 12 keys.

See you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #5

By Ken Volpe
This is Lesson #5 in a series on Guitar Improvisation.  Last week in Lesson #4 we learned the minor Pentatonic Scales in F#.

This week we will learn to play Form #1 of the F# minor Pentatonic scale ascending and descending. Ascending means that you play the scale starting on the 6th string and end up on the 1st string. The pitches get higher as you move through the scale. Descending means that you play the scale starting on the 1st string and end up on the 6th string. The pitches get lower as you move through the scale.

First, play the scale ascending.

Next, play the scale descending.

Then, play the scale ascending and descending.
Make sure that you do this in a continuous fashion.
In other words, do not pause between the ascending and descending direction. Also, stick with the alternate picking technique which was explained back in Lesson #2 of this series.

You will notice that the pivot note (the last note of the first diagram), is not repeated. Playing descending scales will be difficult at first. Go slowly and stick with it. You will have it down in no time.

In next week’s lesson we will continue learning to play ascending and descending minor Pentatonic Scales.

I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #4

This is Lesson #4 in a series on Guitar Improvisation.  Last week in Lesson #3 we learned the note names of the F minor Pentatonic Scale.

This week we will learn the same 5 scale forms in the key of F# minor. Hence, the F# minor Pentatonic Scales.  The fingerings are the exact same as the F minor Pentatonic Scales.  The difference is now every note is moved up 1 fret.

Let’s first learn the notes of the F# minor Pentatonic Scale.  They are F#, A, B, C#, and E. Again, we need to understand that each one of the 5 scale forms starts on a different note from the F# minor Pentatonic Scale.

In Form #1 (see diagram) the notes are as follows: 
F#, A, B, C#, E, F#, A, B, C#, E, F#, and A.

In Form #2 (see diagram) the notes are as follows:
A, B, C#, E, F#, A, B, C#, E, F#, A, and B.

In Form #3 (see diagram) the notes are as follows:
B, C#, E, F#, A, B, C#, E, F#, A, B, and C#.

In Form #4 (see diagram) the notes are as follows:
C#, E, F#, A, B, C#, E, F#, A, B, C#, and E.

In Form #5 (see diagram) the notes are as follows:
E, F#, A, B, C#, E, F#, A, B, C#, E, and F#.

At this point in our learning we are referring to these 5 scale forms as F# minor Pentatonic Scales.  This is determined by the fact that Form #1 begins with the F# note and the combined 5 notes give the scale a minor sound.  The remaining 4 scale forms can be considered as continuations of Form #1.

Helpful hint:  Print out the scale diagrams from and circle all the F# notes in each of the 5 forms.

In next week’s lesson we will learn to play ascending and descending minor Pentatonic Scales.

I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #3

By Ken Volpe
This is Lesson #3 in a series on Guitar Improvisation.  Last week in Lesson #2 we learned 3 more Pentatonic Scale forms giving us a total of 5 scales.

Let’s learn the notes of the F minor Pentatonic Scale.  They are F, Ab, Bb, C, and Eb.  This brings up a question.  If they are only 5 notes in the F minor Pentatonic Scale, why does each scale form have 12 notes?  The answer is that the 5 notes (F, Ab, Bb, C, and Eb) repeat themselves as you venture into the next octave(s).  We also need to understand that each one of the 5 scale forms starts on a different note from the F minor Pentatonic Scale.

In Form #1 (see Lesson #1) the notes are as follows: 
F, Ab, Bb, C, Eb, F, Ab, Bb, C, Eb, F, and Ab.

In Form #2 (see Lesson #1) the notes are as follows:
Ab, Bb, C, Eb, F, Ab, Bb, C, Eb, F, Ab, and Bb.

In Form #3 (see Lesson #2) the notes are as follows:
Bb, C, Eb, F, Ab, Bb, C, Eb, F, Ab, Bb, and C.

In Form #4 (see Lesson #2) the notes are as follows:
C, Eb, F, Ab, Bb, C, Eb, F, Ab, Bb, C, and Eb.

In Form #5 (see Lesson #2) the notes are as follows:
Eb, F, Ab, Bb, C, Eb, F, Ab, Bb, C, Eb, and F.

At this point in our learning we are referring to these 5 scale forms as F minor Pentatonic Scales.  This is determined by the fact that Form #1 begins with the F note and the combined 5 notes give the scale a minor sound.  The remaining 4 scale forms can be considered as continuations of Form #1.

Helpful hint:  Print out the scale diagrams from Lesson #1 (Form #1 and #2) and Lesson #2 (Form #3, #4 and #5) and circle all the F notes in each of the 5 forms.

In next week’s lesson we will learn to play the F# minor Pentatonic Scales.

I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #2

By Ken Volpe

This is Lesson #2 in a series on Guitar Improvisation.  Last week we learned Form #1 and Form #2 of the F minor Pentatonic Scales.  In this week’s lesson, we will learn the other 3 Scale Forms.  (See the tablature diagrams below.)

In Lesson #1, I spoke about some basic fingering rules.  The 1 finger per fret rule applies to all 5 minor Pentatonic Scale Forms.  However, in Form #3 there is one additional fingering rule.  When going from the G-string to the B-string, you will need to shift your hand position. 

Here are the exact fingerings for Form #3.  On the low E-string play fingers 2 and 4 at frets 6 and 8.  On the A-string play fingers 2 and 4.  On the D-string play fingers 2 and 4.  On the G-string play fingers 1 and 4.  Then you make your shift; on the B-string play fingers 1 and 4 at frets 6 and 9.  Finish on the high E-string by playing fingers 1 and 3 at frets 6 and 8. With Form #3 you still follow the 1 finger per fret rule, but you also need to make a position shift as well.

(Click on tab to enlarge)

Helpful hint, Form #4 starts with the index finger and Form #5 starts with the middle finger.

Let me give you some additional guidance when practicing these 5 scales.  I would suggest that you utilize down/up picking a.k.a. alternate picking.

We will refer to down picking as downstrokes and up picking as upstrokes. This means that the 1st note of the scale will employ a downstroke, the 2nd note will employ an upstroke note, and so on…

Building a firm foundation for proper fingering rules and proper picking technique are extremely important to help you master scales and soloing.

In next week’s lesson we will continue to explore the Pentatonic Scales.

I’ll see you all at the next lesson.

Ken's Corner: Guitar Improvisation for Starters - Lesson #1

By Ken Volpe

There are dozens of ways to approach improvisation. What is improvisation?  One basic definition is to spontaneously create a melodic group of notes that blends musically.

Before we get into specifics, we need to establish a few things.  There are many genres in music, but for now we will refer to 3 of them; Rock, Blues and Jazz.  There are as many similarities as there are differences within these 3 primary styles.  Jazz is the most complex with Blues being the most basic.  For the next series of lessons, our focus will be on Blues based soloing.  For clarification purposes, we will assume that soloing and improvisation are one and the same.  Also, at this point, it is important to understand that technique and improvisation go hand in hand.  Technique is the ability to play a note or series of notes in a musical fashion.  Accuracy, strength, and endurance are 3 of the primary elements of technique.  A common approach to developing one’s technique and soloing is to practice scales. 

We will start with the basic Pentatonic Scales.  For now we will refer to them as minor Pentatonic Scales.  There are 5 basic forms or fingering patterns.  Start out by mastering Form #1 and Form #2 of the F minor pentatonic, see the tablature diagrams below. 

(Click on tab to enlarge image)

There are a few more important points to add.  First, you must be consistent with your fingerings.  In other words, there needs to be continuity in terms of which fingers play at what frets.  The 1 finger per fret rule work well.  For example, if you are in the first position, meaning the first to fourth fret area, do the following: 

1st finger covers/plays fret #1
2nd finger covers/plays fret #2
3rd finger covers/plays fret #3
4th finger covers/plays fret #4

Helpful hint, Form #1 starts with the index finger and Form #2 starts with the middle finger.

In next weeks lesson we will learn the rest of the Pentatonic Scales Forms as well as other related items.

I’ll see you all at the next lesson.

Ken's Corner: A 12-Step Program For Learning Recorded Solos

By Ken Volpe
In last week’s lesson I spoke about the importance of defining practice goals.  For this lesson I will discuss a productive approach to learning a previously recorded guitar solo.

Here are 12 steps to give you some guidance:

1. Pick a solo that is within your current abilities.  If it is the first solo that you are ever learning, pick an easy one.  As time goes on you can graduate to more challenging solos.

2.  Once you have selected a solo to learn, sit down without your guitar and listen to it 5 or 6 times in a row.

3.  Organize your materials.  Try to obtain an accurate written version of the solo in standard notation or in tablature.  In addition, have the exact recording that the notation or tablature corresponds to.

4.  Plan out your fingerings and fret position for each section of the solo.  Try not to jump positions too much.

5.  Focus on one section at a time.  If the solo is 16 bars then master 4 bars each day.  Review each previous days part, then work on your new part.

6.  Learn each part at a slower tempo and build it up.  Once you get the solo up to speed then play along with the recording.

7.  Try to pick most of the notes at first.  Once you can do that, go back and add in the appropriate hammer-ons, pull-offs, slides, etc.

8.  Sing each part without your guitar.  Then sing and play the guitar part simultaneously.  Then replay it with just your guitar.  This will really help to develop your ear.

9.  Close your eyes and visualize your hands playing each part of the neck.  This will improve your ability to memorize musical passages.

10. Stay on track, don’t start another solo before this one is completed.  Don’t start jamming on your own ideas until you have mastered the solo.  Many guitarists are notorious for fretboard attention deficit disorder.

11. Set a specific date as your goal to finish learning the solo.  Once you have done that, play it each day thereafter until it is in you or as they say, “Till you own it.”

12. After you have mastered the solo, start applying it to your own solos.  Take a specific part from the solo that you like and play it up and down the neck.  Also, try varying the rhythm or the pattern of notes.

If you are diligent in following these 12 steps it will pay off.  Discipline is an art unto itself.  Baby steps will one day become giant leaps.

I’ll see you all at the next lesson

Ken's Corner: Welcome to Practice Tips 101

By Ken Volpe

This is the first in a series of guitar lessons that will appear regularly on Guitar Jam.

Down the road I will be covering many areas, such as ear training, technique, improvisation, chord theory, and much more.

For now I want to lay the foundation for developing good practice habits.

In my 27 years of teaching I have noticed various recurring themes that keep guitarists from reaching their full potential.

The number one issue that musicians struggle with is “What do I practice?  I know that sounds crazy but it is true!  Many guitarists get overwhelmed with the many skills needed, such as mastering scales, sight reading, finger picking, be bop lines, theory, arpeggios, an SRV solo, etc.

I believe that the best approach is to first define what it is that you really want to accomplish.  In addition, it is important to understand where your strengths and gifts lie.  For example, some players are great at song writing, some at guitar solos, some at playing funk fills, while others
play James Taylor songs.

How does one discover one’s strengths?  Well, you need to break it down. First, what gets you charged up?  What are you really passionate about? Once you know that, then you need to ask yourself a few more questions. For example, “Can I really create my own blues solo?” or “Can I write a ballad?” If the answer is no, then you need to look at what is holding you back.  Yes, I realize that some players have an unrealistic balance between their desires and their God-given ability to pull it off.  If you honestly feel that your dreams exceed your abilities, then you should take the following steps. Number one, you have to adjust your expectations.  It’s reality check time.  Number two, you probably have never really disciplined yourself to develop your skills.

Let’s take a look at these two points more fully.

In reference to expectations, readjust your goals.  For example, instead of learning a Hendrix solo note for note, just try to master the first 8 bars at half speed.  Instead of learning a Joe Pass chord melody tune, learn 10 different chord shapes for a C major 7 chord.  Keep it simple and put the work into it on a daily basis.

In reference to developing your skills, then you really need to be honest with yourself. If you feel that you don’t have a good ear and that’s holding you back, spend 20 minutes everyday for a few months doing an at-home ear training course.  If you feel that your hands are too weak to play what you hear, then lock into some chop building exercises that are at your level.  For either scenario, practice things that you are not good at.  Don’t keep playing that which you already know. I can’t emphasize this point enough.

To summarize, sit down with a pen and paper and brainstorm. Write down your musical dreams, ideas and fears.  A few hours of self-searching is a drop in the bucket compared to the many unproductive hours you may have spent playing the guitar. Laying the foundation now with good practice habits will bring you much success in the future. I’ll see you all at the next lesson.

Plug in >