Guitar For Beginners

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I’d like to share with you my approach to music — to writing, arranging, and ways to come up with new ideas and techniques. You may find many of these concepts can be apply to your own playing and writing. There are some that can help your guitar playing sound smoother, or crisper, or bouncier, or funnier, depending on what you’re going for, and many techniques are much easier than they may seem at first.

Listen with open ears. Borrow approaches from other players in other styles, different instruments, sounds around you, and pretty soon you’ll be looking for new ways to get across your ideas. I’d love to hear what you come up with!

I’ll start by walking you through the inspirations behind several of my arrangements and compositions, and the techniques used in them. Video 2 takes you to “Arioso,” a piece that has changed a lot since I first started composing it. As I say in the intro, the process of composing and developing the theme is much inspired by J.S. Bach, and the overall idea of the piece is an effort to capture in music the essence of unconditional love. You can think of it as a love song to your guitar.

Duration : 0:4:26

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At some point your’re gonna wanna run up a scale with guns a blazin’ and end the assualt with a screaming bend for good measure. When doing so, it’s even better when the run towards the ending bend is based on a numeric sequence such as the one that resides in this next lick based out of D Aeolian. Starting out with some pummeling palm-muted picking, this lick delivers the raw power and climatic anticipation to do the job right.

Duration : 0:1:55

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OK! Time to put out new-found knowledge to work for us in a fun and practical way by playing some music! Well play some simple and fun Reggae grooves that you can easily expand upon to jam with your friends. We start out with a very recognizable bass line that just uses Major Arpeggios to outline a I-IV-V progression in the key of G. Notice how when your hand is anchored in the correct position (Middle finger on the Root) your fingers will fall right into place to play the Arpeggio and create the bass line. We then switch to D and A Minor, change our hand position and play the Arpeggios backwards to create another standard reggae bass line.

Duration : 0:2:24

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Virtuoso acoustic wizard and fingerstyle master, Tim Sparks presents Fingerstyle Roots, Rags & Blues, an insightful exploration of Early Americana Roots music and intensive fingerstyle study program for intermediate and advanced students. Fingerstyle Roots, Rags & Blues covers Delta Blues, Country Gospel, New Orleans, Ragtime, Early Jazz and the most amazing version of “The Mississippi Blues” that we’ve ever seen performed or heard here at TrueFire.

The tunes in this collection evoke a time when American Roots music crystallized and was transformed by the effects of recordings and radio. Some of these selections were written for guitar, others are adaptations from piano and jazz band arrangements. A long list of Roots Music fingerstyle guitarists particularly influenced the material covered in Fingerstyle Roots, Rags & Blues; Duck Baker, Pat Donohue, Woody Mann, Steve James, Eric Lugosch, Eric Schonberg, Ernie Hawkins, Dakota Dave Hull, Phil Heywood, Guy van Duser, Lasse Johansson, Andy Ellis and Teja Gerken.

Tim Sparks has been redefining the acoustic guitar repertoire since he won the US National Fingerstyle Championship in 1993 with a ground-breaking arrangement of Tchaikovskys Nutcracker Suite. Since then, Sparks has continued to surprise, challenge, and thrill audiences with his diverse repertoire and stunning technique. Equally at home within the Country Blues, Ragtime, Jazz or World Music genres, Sparks extraordinary ability to adapt virtually any music to the solo guitar has earned him an international reputation as one of the most innovative guitarists working today.

Sparks has seven solo CDs to his credit including The Nutcracker Suite, One String Leads to Another and Guitar Bazaar on Peter Fingers Acoustic Music Records. He has also recorded four projects for John Zorns Tzadik label, Neshamah, Tanz, At the Rebbes Table and Masada Guitars, (with Bill Frisell and Marc Ribot).

Fingerstyle Roots, Rags & Blues presents two completely different arrangements of “Amazing Grace,” a rendition of Mother Maybelle Carter’s “Victory Rag” and early Jazz and Blues by the likes of Jelly Roll Morton, Scott Joplin and Eubie Blake. Sparks breaks down each tune, passage by passage, in detailed video explanations, notation and tabs that not only allow you to play the songs, but also gives you a treasure trove of chord voicings, licks, scales and turnarounds to use in your playing.

Fingerstyle Roots, Rags & Blues is optimized for intermediate to advanced players and is presented on 2 CD-ROMs (Windows and Mac compatible). The course features 34 full-length video lessons, text overviews, standard notation and interactive Power Tab so you can “see” and “hear” the tab and notation played out at any tempo. TrueFire’s video lesson player features zoom, frame advance, looping and other handy controls.

Duration : 0:6:3

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3D Acoustic Guitar is about charting new territory in your playing and creative process as it relates to the guitar. It’s about having conversations with your instrument, about listening in new ways, responding to what you hear with confidence and curiosity, with abandon, without inhibition. It’s about a new vocabulary, and it’s about your thirst for new ways to express your deepest thoughts, feelings, visions and dreams. It’s about adding some new tricks to your collection and it’s about courageously embracing your muse.
We start with techniques drawing from my collection of original material which reflects over 20 years of experimenting and exploring with the use of open tunings, percussive techniques, harmonic tapping, funkified bass note slapping and the like. Breaking things down into small, bite sized pieces, youll get an opportunity to see, hear and understand many new approaches to making sound on the guitar and youll get plenty of exercises to help you practice them and make them your own. Then we go into the deep water creating and exploring new tunings on your own. Ive given you lots of suggestions and I take you through them -step by step. Youll see and hear how much fun it is to explore and discover new sounds, new harmonic combinations, new melodic and rhythmic possibilities.

It’s about going deeper, wider and higher….3 Dimensional. You ready?

Duration : 0:6:3

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What makes a chord a Major or Minor chord? Its the 3rd of course, or the third note of the scale that can be either Major (2 whole steps up from the Root) or Minor (1 whole step and one ½ step up from the Root). This will define the basic tonality or sound of the chords and scales you will be playing. I show you how to find and play both a Major and Minor 3rd. Then I will show you what is meant by the interval of a 10th, which is an Octave above either the Major or Minor 3rd. Playing a 10th will let your ears hear the tonality of Major and Minor, and the hand positions that you will learn will enable you to find the tonality of any key in which you are asked to play.

Duration : 0:4:46

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In this example, you will find musical phrases and ideas for composing your own songs. We are using many of the chords, melodies, non-harmonic tones, and patterns we have discussed so far.

Duration : 0:4:4

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** Take note: Overall Super Dom Blues is based on a simple I-IV-V in G consisting of dominant 7th leanings for each of the three chords. I say “leanings” because as you’ll see in the comping lesson that follows (Super Dom 3) there’s going to not only be dom7 chords coming at you, but also extended dominant chords and stacked fourth voicings as well. It’s all part of the juicing process, my friends. This freedom of interpretation is something you should be aware of and should begin to feel free to use. With that cleared up, let’s get into the secret behind the sauce, shall we?

As said in the previous segment, superimposing consists of playing a secondary element over a primary element. In this instance, secondary melodic ideas in the form of superimposed m7b5 arpeggios and a single pentatonic scale are played over the primary harmonic movement as dictated by the bass line (speaking of, going right along with the idea of freely interpreting the vibe as dominant; in regards to what’s going on in the background–i.e., the practice rhythm track–that concept applies here as well). Now, a m7b5 arpeggio is made up of the following formula: 1, b3, b5, b7. But when played over the I and IV chords, the notes within the arps change to this formula: 3, 5, b7, 9. So the superimposition is derived from playing a m7b5 arpeggio a major 3rd above the chord’s root, or put simply, from the 3rd. Let’s examine one instance closely to make sure you got the gist. Over G7 whose 3rd is B, a Bm7b5 would be employed, which is made up of B, D, F, and A. Considering G as the root, the notes in that Bm7b5 arpeggio are as follows: B is the 3rd, D is the 5th, F is the b7, and A is the 9th. That, ladies and gents is the gig.

While the same concept is used over the C7 (IV) with the Em7b5 serving as the arpeggio built on the 3rd of the chord, the A minor pentatonic scale played over the D7 (V) superimposition works out as follows. Against the D root the notes are: A (5th), C (b7), D (root), E (9th), and G (11th). Keep in mind that 11th shouldn’t be a note you resolve on as that will directly clash with the powerfully present tritone interval between the 3rd and b7th. It works within a line for sure, but just make sure you fly on by and land on anything but.

Duration : 0:25:0

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Welcome to Acoustic Guitar For Beginners with Rich Maloof! Time to dust off your guitar and start strumming. You won’t be bogged down in this course by tedious exercises or music theory. Instead, we get straight to the mechanics of chords and strums so that you can pick up a piece of sheet music (or find some online) and start playing songs that you know and love.

As you click from lesson to lesson, check out the other elements in the video player. The Jam tracks, Text, and PDF’s all support the lessons taught on video.

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Duration : 0:3:58

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Here is the same idea in the Key of E. You will go through some trials and errors as you learn the craft of writing a melody. After you spend some time at this, you will probably learn to improvise some great lines. Notice the phrasing again. I’ll use short, sometimes three note phrases, to make a musical statement. Then, I’ll answer it with a parallel phrase or a contrary phrase. If you analyze the structure of the melody, you will find the patterns.

Duration : 0:2:23

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