Learn to Play the Guitar

A guitar can be an easy and fun instrument to play. Start by learning the correct method of handling the instrument. Here’s how:

Your body and posture:

You must be comfortably seated, resting your back adjacent to the backrest of your chair making sure that your legs are in front and feet flat to the ground. This position is now your “footing” or support that your guitar is going to rest upon.

Picking up the guitar, held it close to your chest or stomach ensuring that the back of the guitar’s body touches your chest and the neck’s bottom is parallel to the ground.
The guitars thickest string must be directed close to the face and the thinnest string must be directed close to the ground.

Generally, a right-handed individual holds the guitar in such manner so that the “headstock” is pointing towards the left, while a left-handed individual holds the guitar in such manner that the headstock is pointing rightwards.

To play the guitar in a seated position, the guitar’s body should be resting on either one of your thighs. In most guitar playing approach, the instrument should be resting upon a leg that is farthest from “the headstock”. Meaning, a right handed individual handling a guitar will naturally rest the instrument on his right leg, and a lefty will rest the instrument on his left leg.

Your right arm and hand:

Using the correct hand position is crucial in guitar playing. You will face many problems should your hand be in the incorrect position; your hands will easily tire, it will be difficult to for you to play particular chords and you could even hurt or injure your hand when you continue playing in the wrong hand position.

The right hand will be used to “strum” the guitar’s strings in order to produce the varying chord sounds. Rest your right hand and arm over your guitar. The bicep must rest on the topmost part of the guitar’s body and the hand must be properly placed directly on top of your guitar’s sound hole (where sound will be produced). Attune your body as needed, so that your position is comfortable.

A left handed individual, have two alternatives. The first of which is to purchase a guitar that is right-handed then re-string it (reversing the sequence of the guitar’s string), and the other option is to purchase a guitar that is left-handed.

Give focus to your “fretting hand” or the hand that is near the guitar’s neck, when seated in proper guitar position. Your fretting hand’s thumb must be resting at the back of the guitar’s neck, having your fingers positioned in a slight curled manner, balanced on top of the strings. Keeping these particular fingers at a slight curl at your knuckles is very important.

Your fingers:

Your fingers at your left hand should be bent as well as it should be pressed down onto the guitar’s strings that are located on the “fret board”. The neck’s back should be curved, in order that the hand is molded into the neck’s shape.

Remember that it is alright for you to press or push the thumb at the back of the neck when creating your chords, though this is common when one is “playing scales”. Sample out or test certain thumb positions so you will know which one you are most comfortable with.

Do not worry too much about the strings that the fingers in your left hand are pushing down at this time; as still, you are just in the process of acquainting yourself with your instrument.

Never worry too, when you can not play a good tune at this early stage. There are still many things to be learned, many stages to go through and practices to do, in order for you to get the right tunes and the right notes to play. You are just beginning, so be patient.

The important factor here, is that you can comfortably hold the guitar, being at ease with it, then the rest of techniques still to be learned will just automatically flow, at your fingertips!

Essential Guide to Tuning Your Guitar

The guitar is such a simple and convenient instrument: just open the case and start playing. Well, it’s not THAT simple. A good practice before playing the guitar is to tune it first.

Tuning the guitar prior to playing it will ensure that you will create harmonious music; for each string has a specific note to play and even if one goes out of tune, the rest will sound disarrayed. Note that some guitars may not need as frequent tuning (well constructed = expensive), but if ever it is well played (to the point of abuse, actually), then that just needs tuning as well. Read on for an essential guide on guitar tuning.

The guitar presents a particular kind of difficulty in tuning because it has six strings, each of which has an individual pitch or a place in the musical staff assigned to it. The string numbers, as more popularly known, from top to bottom are 6, 5, 4, 3, 2, 1, while their musical counterpart are mi, la, re, sol, si, and mi or E, A, D, G, B, and E respectively.

In order to tune the guitar correctly, one must have an axis or a reference pitch. You will need the commercially available pitch pipe o, better yet, acquire a tuning fork in case you don’t have a reliable instrument at hand to give you an axis. Pitch pipes have a bad reputation of changing pitches after some time. Tuning forks are more reliable and easier to use.

First, make the fork vibrate by tapping it lightly on any hard object while holding the handle. Then, let the handle touch the guitar’s soundboard below or above the soundhole while gently moving it towards the bridge. This will locate the spot where the resonance is at its loudest. You are supposed to hear a high pitched A (la) which should be the same as the sound produced by striking the first string while it is being depressed on the fifth fret.

Now that you have tuned the first string (E/mi), its open sound is the same as the sound of the second string pressed on the fifth fret. The third string on the fourth fret is equal to the open second string (B/si). Furthermore, fourth string/ fifth fret equals open third string (G/sol); fifth string/ fifth fret equals open fourth string (D/re); and the sixth string/ fifth fret equals open fifth string (A/la).

In order to check the accuracy of your tuning, gently or lightly touch the fifth string directly above the fifth fretwire, without pressing the string to the fingerboard. By striking the string in this manner, it should sound similar to that high-pitched tone produced by the tuning fork. Sounds of the string produced this way are called “harmonics.”

Harmonic 5 (Harmonic on the fifth fret) of the sixth string equals harmonic 7 of the fifth string (which is also similar to the open sound of the first string). Harmonic 5 of the fifth string equals harmonic 7 on the fourth string. Harmonic 4 of the third string is equal to the harmonic 5 of the second strung and harmonic 7 of the first string. Incidentally, harmonic 4 may require lots of practice for some, so I suggest that harmonic 7 of the sixth string be used to tune the open second string. These pairs of harmonics, when sounded together, should produce only one steady tone. If the sound the produce clash or seem wavy, they are not in tune.

These two methods of tuning must always go together. You may use the harmonics method first then check with the other or vice versa. If, after crosschecking, the strings do not agree with each other, you may have to repeat the whole process. If you still cannot get them in tune, your strings might be defective. If your strings are new, this may even be worse—your ears need tuning!

To avoid all the hassles of manual tuning, costly electronic device called strobo tuners are available. Just turn the dial to the string’s name and it will pick the string’s sound through a condenser microphone and tell you if it is in tune through a meter

Other conventional methods of tuning are through imitation of pitches from different musical instruments like the piano, flute, etc. You can even use that portable but silly investment, the pitch pipe set. But you have been warned!

Simple Instructions to Learn Chord Structure Easily

A technical knowledge of harmony is not an absolute prerequisite to the enjoyment of music, but the amateur musician and listener alike should be aware of harmony as an element of guitar chord structure. He should be cognizant of certain basic principles, properties and uses of this element.

Harmony as an element is more sophisticated than rhythm and melody. It is virtually non-existent in primitive cultures. Moreover, it is an element which appeared comparatively late in the history of music, and which was developed primarily in western civilization.

Harmony is a musical element based on the simultaneous combination of musical tones (as distinguished from the consecutive tones of a melody), or the accompaniment of a melody by chords.

A combination of three or more tones played simultaneously and perceived as sounding as a whole is called a chord.

A few rudimentary principles will help you understand the nature of conventional chord construction. The simplest chord is the major triad, which consists of three tones. We can build a triad by selecting the tonic of a certain major scale and by adding two or more tones above it on alternate degrees of the said scale. For example, if we start with the tone C as “do”, the tonic of the C-major scale, we get the triad do-mi-sol, 1-3-5, or using the letter names C-E-G.

The tones of any chord maybe arranged in different order, and they maybe duplicated an octave above or below without changing the essential nature of the chord. This is the reason why oftentimes we see chords such as C/E, (the first inversion of the C major triad using the chord tone E as the bass) or C/G (the second inversion of the same triad using the chord tone G as the bass)

Building chords in thirds (on alternate scale degrees as described) was the basis of all conventional harmony from 1700-1900.

In the twentieth century serious music composers have expanded chord vocabulary by additional means of construction for the sake of more colorful and complex effects. Although additional means of construction have been introduced, modern pop, rock and jazz music still follow the conventional way of chord construction – by thirds.

Going back to the major chord, you may be wondering why there are lots of fingering for a certain major chord. This is possible because in the 12 frets of the guitar, the notes simply repeat themselves in increasing octaves, at their corresponding string. C, for example, is on the first fret at the B string, third fret at the A string, fifth fret at the G string, and on the eighth fret at the E strings. As reference, here are the other notes and their possible fingerings:

D: 3rd fret at B, 5th fret at A, 7th at G and 10th at E;

E: 2nd at D, 5th at B, 7th at A, 9th at G and 12th at E;

F: 1st at E, 3rd at D, 6th sy B, 8th sy S snf 10th at G;

G: 3rd at E, 5th at D, 8th at B, 10th at A and 12th at G;

A: 2nd at G, 5th at E, 7th at D, 10th at B and 12th at A;

and B: 2nd at A, 4th at G, 7th at E, 9th at D and 12th at B.

So depending on how the melody of the song is arranged, the chord formation can assume any fingering position as long as the triad is formed and however it is conveniently played.

Now that you have an understanding of the major chord, let us investigate its parallel counterpart the minor chord. If the third of the major triad is altered by lowering it to one semitone (one fret on the guitar and two frets for each whole tone), the resulting triad will be C-Eflat-G, which is the minor triad.

Check the fret board and investigate all the possible fingerings, for the minor chord. You may see that if comparing it with the major chord fingerings, only one string is lowered when forming the minor chord, unless there is a doubling of the minor third (Eflat).

If ever you are wondering why all the examples mentioned here are on the C chord, well, it now your turn to apply the lesson here. Chart down the major and minor chord triads for the rest of the notes and … start strummin’!