If you actually write out "C major" and "C minor", then there's no need to further distinguish them via capitalization; your meaning is already clear.

So I agree with Raskolnikov in the comments that "C/c" is useful when you drop "major/minor" altogether.

However, to make it more clear, I usually use and see used "C" (or rarely "CM") for the major and "Cm" for the minor.

I still see it applied for modes in chord notations, and it echoes the use of the distinction of M/m for Maximum and minimum in mathematical shorthand.

It might be a kind of political correctness: all modes are created equal, they should not be typographically discriminated.

None of them should have an initial uppercase when others have only lowercases, c minor is as respectable as A Major, and there are other scales and modes.

A related question is do you use a uppercase or a lowercase "d" with Bach's Toccata in Dorian mode BWV 538?

Most recent recordings do not respect Dorian as a mode, they only present it as a surname, like a dedication: Toccata and Fugue in D minor, BWV 538 "Dorian" Perhaps one will someday ask : Who was Dorian?

And who was she to J.-S. Bach?

As suggested in my comment on the question, it seems to be a German key naming convention.

If you look at http://de.wikipedia.org/wiki/C-Moll they call it "c-Moll" (note lowercase) or "c" (note lowercase) or "Cm".

In contrast: http://de.wikipedia.org/wiki/C-Dur is called "C-Dur" (note uppercase) or "C" (note uppercase).

In other words: c-Moll vs C-Dur or c vs C or Cm vs C. That would suggest the convention is still alive in Germany (and was possibly always considered the "German style")

Most answers address the major/minor capitalization, but there's one vital reason, not yet discussed in this thread, for always capitalizing the tonic: Imagine

we're talking about the key of "a minor.

" If we don't capitalize that tonic, a certain subset of readers are destined to have some confusion (however momentary) when they read: With the appearance of a minor, the sound of a minor triad is no longer unexpected.

As such, we capitalize the tonic A, even if it's in minor, to prevent any confusion between the tonic pitch "A" and the indefinite article "a": With the appearance of A minor, the sound of a minor triad is no longer unexpected.

I think it comes from the German practice as well, since German musicians were quite the standard-setters up to the 19th century.

That said, even though it's implied in the 'shorthand' notation that C represents a major and c a minor chord, I prefer to use C and Cm when writing, for absolute clarity.

The 'shorthand' notation, however, still pops here and there, when space is limited (e.g., when picking patch/combo names to save to my keyboard).

In German songbooks it is still somewhat customary to write C and c for major and minor, respectively.

This is somewhat annoying to accordionists who write C for a C bass note, c for a C major chord and cm for C minor (and c+em for Cmaj7 because there are only chord buttons for the former).

So the customary oom-pah accompaniment goes C c G c C c G c on accordion, with capital letters indicating single bass notes (in a lower octave) and lowercase letters indicating chords.

Question: I was taught when I was young that minor key names should be written with the note in lowercase, as well as the word "minor". Nowadays on recordings, etc., I usually see both capitalized.  What was the original reason for this rule, and why has it (apparently) fallen out of favor?

Capitalization of key names (C Minor vs. c minor)

If you actually write out "C major" and "C minor", then there's no need to further distinguish them via capitalization; your meaning is already clear.

If you write out "C major" and "C minor", then there's no need to further distinguish them via capitalization; your meaning is already clear.


It may be helpful to take out all of the consonants and sing through a song in Latin or Italian with only the vowels.

For instance Dona nobis pacem would become oa oi ae.

That will allow you to focus more specifically on the vowel sounds without the consonants getting in the way or encouraging you to run to dipthongs.

Interesting question!

The only tip that springs to mind is to think of constantly renewing the vowel, so rather than thinking "I'm singing a long oo,

here I go, ooooooooooooooooo" it can be helpful to think of lots of tiny, pure oo's strung together.

("oo-oo-oo-oo-oo-oo-oo-oo")

You may also want to be aware of what your lips and tongue are doing during a long note, as if they change shape they will necessarily affect the vowel sound.

The easiest way to hold a pure vowel sound is to maintain mouth position.

Take, for instance, the 'O' sound of wrote.

It is easy to close the jaw slightly to form the 't' and create a diphthong of the 'O' as in the phonetic o-oot.

Instead keep the jaw relaxed on the O sound and instead of closing the mouth, reach up with the tongue to softly lick the t sound from the top of the mouth.

Most deviations from pure vowel sounds occur when encountering the following consonant sound.

Emphasis on consonants can be avoided - even when we should have a diphthong.

Try the word wild --- most people triphthong this to ooWah-eeeee-ald because of jaw position.

Instead, sing "hhhhWahhhhhhhhh- eeld" with very little movement of the jaw and just a small eeld with the tongue against the roof of the mouth.

Start breathing before engaging the vocal chords to prevent a loud start that falls back in volume.

We need not have the ooWah begin words that begin with W.

IMO, this is practice, practice, practice.

Go over the song phonetically, and speak each word on a single tone or in a speaking voice, properly pronouncing each vowel.

Always remember that note transitions are where your dipthongs and consonants should be placed, and it should happen as fast as still sounds natural.

Now, that said, you imply that "pure" vowels equal "Latin" vowels.

This is not necessarily the case; you can sing unelisioned vowels, and be consistent across an entire choir as to the color of each vowel, without the vowels having to be "ah", "eh", "ee", "aw", "ooh".

The Latin pronunciation is simply an easy, natural, dialect-neutral set of vowels that works for classical music in most languages.

There are many techniques, and the answers so far are great, but I'll add another suggestion that works great for some folks: Modify the words mentally.

Instead of singing a-bout (which can lead to funny dipthongs), think of it phonetically as uh-bah-oot.

The vowel you're holding for a long time is close to "ah", and the "oo" from the u is more part of the final t sound than part of the previous vowel.

Eventually, you learn to make these kinds of modifications automatically.

It is all about becoming conscious, with each syllable you sing, of the different positions and shapes of all the parts of your vocal apparatus: lips, tongue, soft pallate, and the placement of the tone in your head.

And whether or not these positions are moving or changing during the production of the vowel.

(if they move or change while you make one vowel sound, this is what creates a dipthong.)

The best way to learn this is to take lessons from a voice teacher or sing with a choir director who gives you feedback on your vowel production and shows you what you are doing wrong.

The good news is that, with continued practice of good habits, this meticulous and constant self-examination and self-awareness of the changing positions of your lips and tongue, etc., eventually become second-nature and you no longer have to think about them constantly as you sing.

Question: When singing in languages like Italian or Latin (which don't run to diphthongs the way English does), I sometimes find it hard to sing pure vowels, particularly when holding a note for a while.  Should I attack this as an "ear" problem (and I need to listen to more music in these languages), or is there some vocal technique I can apply that will help?

How do I train myself to sing pure vowels?

S3: The best way to learn pure vowel sounds this is to take lessons from a voice teacher or sing with a choir director who gives you feedback on your vowel production and shows you what you are doing wrong.   It may be helpful to take out all of the consonants and sing through a song in Latin or Italian with only the vowels. Go over the song phonetically, and speak each word on a single tone or in a speaking voice, properly pronouncing each vowel. It is all about becoming conscious, with each syllable you sing, of the different positions and shapes of all the parts of your vocal apparatus: lips, tongue, soft pallate, and the placement of the tone in your head. It gets easier with practice.

Exercises such as speaking through the song with focus on vowels or singing with vowel sounds only may help. Be aware of your mouth shape, lips, tongue, palate and placement of the tone in your head. Be aware of deviations in vowel sounds as you move towards a consonant. Take lessons.

Be aware of your mouth shape, lips, tongue palate and placement of the tone in your head.


For classic guitar I recommend: The Christopher Parkening Guitar Method, Vol.

The Christopher Parkening Guitar Method, Vol.

2 These were published in the early 1970s by the great virtuoso Christopher Parkening with Jack Marshall and David Brandon.

They are highly regarded by guitar teachers.

The newest edition comes with a CD so you can hear what the lessons sound like when they are played correctly.

From the publisher's description: "The method covers: rudiments of classical technique, note reading and music theory, selection and care of guitars, strategies for effective practicing, and much more.

The CD includes 99 demonstration tracks."

If you do not have access to a teacher, I recommend choosing a program that will provide you with corrective feedback so that you may fix your mistakes in order to progress.

In my experience, lacking this feedback you may unknowingly develop poor habits, both musically and technically.

Fixing your mistakes requires seeing and hearing correct playing.

So, a multimedia instructional program may be your best choice.

I recommend looking at Frederick Noad's books with CDs/DVDs.

(He published his first multimedia instructional program in 1963, which came in the form of a book and weekly television program.

See attached photo of my copy.)

Today, you would probably do well to try Noad's updated text: http://www.amazon.com/Solo-Guitar-Playing-Book-Classical/dp/0825694000/ref=sr_1_7?ie=UTF8&qid=1310553812&sr=8-7 Noad's books are well-respected by many classical guitar teachers.

So, if you decide to ultimately take lessons, you may find the transition to be a smooth one.

I havent looked at beginner books recently.

But I can offer a rule of thumb : A Real Classical Guitar Book will contain no tablature.

It is very important to "take the plunge" and master staff notation.

The book I used and was very happy with was The Romero Method, by Celedonio Romero , but it looks like it's out of print. :(

There is a book by Son of Romero

that's probably worth checking out.

(These guys were breaking into The Tonight Show, while Segovia was breaking into Carnegie Hall.)

The Aaron Shearer series of books ( link to Volume 1 ) are well-regarded standards.

They were first published in the 1950s or 1960s and are still in print.

As one who is teaching himself to play classical guitar, I have found the following method books to be excellent.

They are in no order: Frederick Noad.

Solo Guitar Playing: A complete course of instruction in the techniques of guitar performance* (4th Ed).

Aaron Shearer.

Classic Guitar Technique (3rd Ed).

Book and CD.

(ISBN-10: 07390-57103). Julio Sagreras.

Mel Bay Julio S. Sagreras Guitar Lessons:

Books 1-3 (English and Spanish Edition)

[Spiral-bound].

(ISBN-10: 0786627239).

Jeffrey Goodman.

A Beginner’s Guide to the Classical Guitar.

(ISBN-10: 1439267499).

Robert Benedict.

Sight Reading for the Classical Guitar, Level I-III.(ISBN-10: 0769209742).

Robert Benedict.

Sight Reading for the Classical Guitar, Level IV-V.

(ISBN-10: 0769212859).

Question: I've come across a lot of different series and 'methodologies' (Aaron Shearer, Mel Bay etc) books - and it's very confusing for the beginner when there's no teacher to guide him or her.

What are good beginner books to follow for classical guitar (self study or otherwise) ?

Good beginner books for classical guitar include Frederick Noad's books with CD/DVDs, The Romero Method by Celedonio Romero and the Aaron Shearer series.

Books by Frederick Noad and Aaron Shearer are recommended, as well as The Romero Method, which is unfortunately out of print.


It depends completely on the technique that you are trying to gain speed on.

If you want fast, palm muted power chords (like metal guitar), then it's in the wrist.

If you want fast open chords (like Pinball Wizard), then it's more in your wrist / forearm (I guess you might consider forearm to be bicep).

Fast single notes (like Dick Dale), is either wrist or a twisting of your forearm.

Fast picking for lead lines could be a million different things, including alternate picking, finger technique, sweep picking, etc.

The one thing that took me a long time to realize is that at the end of the day, you'll be faster if you are relaxed.

It may not feel like that to begin with, but tensing up never really helps.

i would say it's all in the flick of the wrist

the goal is that you don't really want to be straining your muscles much if at all.

it's really about twitching the wrist quickly without flexing or constricting muscle much, to not tire your arm.

you don't need strength for this.

just speed.

Just like my other favorite past-time: It's all in the wrist.

With that being said, Al DiMeola has forearms like a ham, but if you watch him play

it's amazing the economy of movement

that's concentrated in his wrists.

Steve Morse, at his peak in the late 70's seemed to use his entire arm, which always looked like it shouldn't produce the insanely accurate, musical flurries of notes - especially during his "country" solos's.

Herb Ellis, one of jazz's fastest guitarists, always seemed to get most of his speed/strength out of his thumb and forefinger - which, seems to be the case for a majority of accurate speed players: a wrist movement that eventually becomes such a second nature muscle memory that it winds up being a fluid motion in the thumb and forefinger area.

There is a famous part of Eruption that quotes Etude

No 2 by Kreutzer ( reference here ).

For that style of picking, it is important to lock the wrist, and use the forearm in a tight, fast pattern (yet staying relaxed ;-)

Here is a link to the quote, which shows Eddie's technique

There are likely as many routes to fast picking as there are pickers... For bluegrass-type fast runs that are mostly done in a pretty strict alternate-picking style, it seems to come from the elbow with the wrist relatively rigid.

Doc Watson refers to "picking from the elbow" when digging in on such passages.

Note that I'm talking about steel-string acoustics here, and usually set up with rather stout medium-gauge strings.

Playing an electric with "slinkies" can be quite different.

The pick type makes a great difference to me - if I'm chugging I'll use a fairly thick pick, but for speed I'll go for a 0.4 or 0.45 mm pick, and as new as possible...if it is worn you have to move it further to get the point of the pick past the string to return back across it.

A fast picking speed comes from mainly the hand both working to move the pick quickly.

However the bicep does a little work, keeping the hand and arm steady to provide accurate picking.

Question: Where specifically on the arm/hand should rapid picking speed come from?

Where does picking speed come from? Forearm, hand, or bicep?

There is little consensus on which part of the body is responsible for fast picking. Contenders include wrist, wrist/forearm and elbow. The majority seem to favor the elbow.

This depends on the individual style of the player. However, many believe that it is all in the wrist. Fast picking may also come from the hand and the bicep plays a steadying role. It also depends on the style of music. Fast, muted chord speed comes from the wrist. Fast-strummed open chords come from the wrist and forearm. Fast single notes come from wrist or twisting of the forearm.

Fast, muted chord speed comes from the wrist, whereas fast-strummed open chords come from the wrist and forearm, and fast single notes come from wrist or twisting of the forearm

It depends on the individual style of the player.

Fast picking mainly comes from the hand but the bicep keeps things steady.


You need to specifically be searching for '"sheet music" piece name', not musical notes.

Some pieces by Sor and Bach can be found here http://classicalguitar.homeip.net/Sheetmusic.htm

This was the first link from the Google search "sheet music classical guitar"

Please pay for them and stick with the masters:

Andres Segovia: http://www.amazon.com/Andres-Segovia-Studies-Guitar-Transcribed/dp/0793504368

Paco DeLucia: http://www.amazon.com/Scores-Fuente-Caudal-Visual-Spanish/dp/0786675063 Julian Bream: http://www.sheetmusicplus.com/s?q=Julian+Bream

What is probably the largest online collection of lute music in the world is at http://gerbode.net/ (and mirrors).

There are currently more than 3,000 pieces available (actually, I think it may be closer to 4,000 by now), many in several different arrangements.

All of them are available in Fronimo file format, and most of them are also available in TAB, PDF, and MIDI.

You mentioned Dowland.

A quick glance shows more than 100 pieces by him alone.

There are 588 Fronimo files under his directory, including separated parts for SATB singers.

The collection is entirely free -- both in price and in copyright.

All of the pieces are transcriptions by Sarge Gerbode, either from the originals or scans of the originals made available to him by libraries.

This collection represents many years of work by him and it has been a labor of love.

I'm currently working with Sarge to put a much nicer front end on the collection and we hope to have the up and running by Summer, if not sooner.

Check out the site.

You can contact him at sarge@gerbode.net, or me at peter@techbuddy.us.

Have a look at International Music Score Library Project http://imslp.org/

I answered this for a different question, but it might be useful here:

You can find a lot of music sheets on http://www.ultimate-guitar.com/ Most of them are modern songs, or older music on modern instruments, but I also found a lot of classical guitar and lute pieces there.

Some of the files can only be viewed with proprietary software (like Guitar Pro) but there are free ones as well.

If you are interested in even older music which is even harder to find, you can find some medieval music (mostly for lute or for flute) here> http://www.terrasoft.hu/kultura/consort/kotta/

Question: Possible Duplicate:  Sites with a good selection of sheet music     Occasionally, I search for music notes online, e.g. for pieces by Sor, Dowland, Bach and others. Are there some good resources for musical notes (or tabs)? I am interested in classical guitar and lute compositions.  I have seen this question ( What is the legality of online tabulature? ) and agree with the shadowy (and often ad-cluttered) ambiance of some of these sites. Are there some legal, maybe even well-organized, too?

Where can I find music notes for classical guitar and lute online?

Music notes for classical guitar and lute can be found online at Andres Segovia: http://www.amazon.com/Andres-Segovia-Studies-Guitar-Transcribed/dp/0793504368  and Paco DeLucia: http://www.amazon.com/Scores-Fuente-Caudal-Visual-Spanish/dp/0786675063 and  Julian Bream:  http://www.sheetmusicplus.com/s?q=Julian+Bream.

The largest online collection of lute music can be found at http://gerbode.net. Also look at the International Music Score Library Project  http://imslp.org/. Some medieval music (mostly for lute or for flute) can be found on  http://www.terrasoft.hu/kultura/consort/kotta/. Some pieces by Sor and Bach can be found here  http://classicalguitar.homeip.net/Sheetmusic.htm  .  You can find a lot of music sheets on  http://www.ultimate-guitar.com/  Most of them are modern songs, or older music on modern instruments, but I also found a lot of classical guitar and lute pieces there. Suggestions for sheet music books include Andres Segovia: http://www.amazon.com/Andres-Segovia-Studies-Guitar-Transcribed/dp/0793504368  ; Paco DeLucia: http://www.amazon.com/Scores-Fuente-Caudal-Visual-Spanish/dp/0786675063; and  Julian Bream:  http://www.sheetmusicplus.com/s?q=Julian+Bream


Absolutely not.

Some people learn and remember songs best through visual, aural, or tactile methods, and knowing the notes isn't necessary if you know how it "looks", sounds, or feels.

That said, learning the notes can be very useful.

What if you want to improvise on something?

Or you start writing a song, do you really want to be testing a bunch of notes to see if they're in the key you're using?

And again, it might help you learn depending on your learning style.

If you learn from tabs, as I began and still do, then no, definitely not.

You will find however, particularly when you start playing barre chords, you will begin to learn the note names without making a conscious effort to.

Then, as you start to tab songs, your knowledge will become more steadfast, and by the time you are writing songs, (using scales,keys etc)

it will eventually become second nature.

Thanks.

Of course it is not necessary, but

WHY should You not to do this?

If You play a lick in one place on fretboard and just want to try it one octave up or one octave down?

What would You do?

If it's start on G note, You can locate

another G note maybe You have to adjust fingerings and voila!

Or do You play different strings up and down to find this another G?

Another example: You're jamming with friends, and someone asks: "Hey let's play blues in G", do You really want to hear explanation: "Hey this 3rd fret on six string" There are plenty of benefits from knowing the names of notes on fretboard.

I've posted some guidance on how to learn this in another question After a week or so the topic will be irrelevant for You - because it so easy :)

My advice is go for it

- You would learn it twice in time You spend to wondering whether to try.

It's worthy.

If you know the first 5 frets on each string you know the entire fretboard.

The more you play the more this becomes absurd.

You can get by without, as others have pointed out.

But you'll be thankful

you put in a bit of work and learned the names, along with a bit of theory (just enough so that you basically know what's going on).

You can get very far without knowing, but it is a great advantage to know the names of the fret notes.

At least for the first 5 frets.

It will be very helpful understanding how chords are built up.

Also when playing with others, it is very useful to know the names just to have a common language to communicate what you play.

Well, obviously, on tabs it is irrelevant so long as you know what tuning you're supposed to be in.

So long as you know how to read the notes on a music staff and understand the makings of a scale and of chords...

it's not too important to know all the notes on the neck.

Why?

Because, as guitarists, we change our tuning rather frequently...

well... at least I do.

And the most important thing to know is what note each of your strings is tuned to and which intervals are functional in the tuning you are using.

As long as you know how to get around your tuning, it's fairly easy to know how to play in the right key with others.

Question: I know the names of the notes up to about the fifth fret on each string. I play from sheet music occasionally, but mostly from tabs - so is it necessary to learn the names of the notes for each fret to be able to play the majority of songs?

Is it necessary to learn the names of fret notes?

It is not considered necessary to know the names of the fret notes. However, it is very helpful particularly when playing with other people. If you know the first 5 frets on each string, you know the entire fretboard.

Many believe it is not necessary to know the individual fret notes on the guitar. Some say that it is useful to know the first five frets. You can get a long way without knowing, but it is a great advantage to know the names of the fret notes. When playing with others, it is very useful to know the names just to have a common language to communicate what you play.

Some say that if you know the first five frets then this is useful.


There can be a lot of these (others have already hit some of these): Changes in temperature and humidity.

As the wood moves, so does the tension on the neck and consequently the strings.

Nut sticking.

If you have a rough nut then sometimes strings can get stuck, causing them to be out of tune.

One way to fix this is to down tune the string half a step, then carefully tune it back up moving slowly.

Ultimately you want to get the root problem for this one fixed though.

General string post slippage.

Depending on how you attach your strings to the posts, they could be slipping there as you tune them up.

In extreme cases they could slip off the posts.

Research a good technique for attaching string securely to counter this.

New string post slippage

This one's related to the other one.

The strings aren't actually stretching in this case, it's usually just settling in on the string posts and the bridge.

Make sure you stretch them out gently and retune after installing new strings.

Tuning machine quality Poorly manufactured tuning machines can cause string slippage as the gear assemblies move.

The strings stretch over time.

They stretch less and less as time goes on; you'll notice that the older strings are, the less they need to be tuned.

Loosening of the tuning pegs, and that sort of thing.

This can be caused by the tension on the strings, but usually it's due to minor bumps of the guitar and vibration.

Temperature changes and humidity.

Both affect the size (and warp) of various parts of the guitar, which changes the tension of the strings.

Warping (normally very minor).

Wooden parts of the guitar especially bend over time, again changing the tension on the strings.

I think Mathew has hit most of the relevant points, but to add one more thing: Guitar Quality.

Cheap tuning pegs will cause a guitar to go out of tune constantly.

The better the pegs, the less it will go out of tune.

I believe it's because the constant tension and temperature changes in the strings slowly unwinds the tuning keys.

The strings may not have been stretched properly when they were put on.

Tremolos are also infamous for wreaking havoc with your tuning.

Question: This might be an obvious question, but it would be good to know what factors cause guitars to go out of tune.

Why does my guitar go out of tune after I play it a while?

S0: There can be a lot of these (others have already hit some of these):  Changes in temperature and humidity.  As the wood moves, so does the tension on the neck and consequently the strings.  Warping (normally very minor) has an effect.  Moreover, the strings stretch over time. Cheap tuning pegs will cause a guitar to go out of tune. Tremolos also have a negative effect.

Temperature and humidity changes affect guitar tuning. As the wood moves, the guitar goes out of tune. Other factors include: Nut sticking, string post slippage, stretching strings and loose tuning pegs. Low quality components on guitars may cause tuning issues. Guitars with tremolo units are often harder to keep in tune.

The quality of the guitar may have an impact. Cheap components may be less stable.

Guitars with tremolo units are more difficult to keep in tune.


Every once in a while, I polish the main body with a soft cloth to remove dust and smudges.

When changing strings I give the fretboad, headstock and pickup areas a good cleaning.

A can of compressed air is a good idea for removing dust and other gatherings from tight crevices like the gaps between the pickups and body.

Make sure you hold it at least 6 - 8 inches away though.

I polish the fretboard with a brand of polish I get from my local music shop called 'FretFast'.

You might be able to find something similar.

Occasionally I'll tighten the screws around the guitar if they're coming loose.

I tend to find that the jack-socket on my guitars come slightly loose after a year or two, so I tighten that too.

As for scratches and/or chips, I haven't done anything about them on my guitar.

I have one particular chip in the paint on the bottom of the guitar near the jack socket.

I'be had suggestions to repaint it with nail polish or something similar, but I'm still hesitant.

I have some basic maintenance regimes I follow based on as-I-play, weekly, and monthly schedules--along with spot fixing any serious problems I come across as I play my arsenal.

I feel like the more instruments you own, the less organized you can be on this and therefore the more problems you end up fixing as you go.

Wood moves, screws come loose, and strings age--so you ultimately need to at least check the basics on a semi-frequent schedule.

Here's my basic run down for electric guitars: Once or twice a month Check all of the pickguard screws, pickup rings, jack plates, potentiometer nuts, and tuning machine screws and lugs to make sure they are tight.

Takes less than 30 seconds on my Les Paul--and that's the most complicated guitar I own hardware-wise.

If I'm in need of a string change (and I usually am) and the fretboard is nasty, then remove all the strings and hit the fretboard with some naptha (common lighter fluid) to clean the gunk off followed up with some Gerlitz Guitar Honey --which is basically mineral oil.

See this question for some more strategies on how to clean your fretboard.

Check the potentiometer travel for all volume and tone pots making sure to listen for any scratching

(obviously you'd need to plug the guitar in for this part).

Also, make sure all the volume knobs are secured tightly and won't come off through normal use.

Quickly check pickup height with a small precise ruler (kept in my case) to make sure that the pickup screws have not vibrated loose from my constant abuse throughout the month.

Weekly Check to see if I need to replace strings, and if I do change them out one string at a time.

Some people swap them all at once all the time, but I have found that the setup on guitars equipped with Tune-O-Matic bridges are easily disturbed, so I don't like to do this unless I need to clean the fretboard.

Wipe down the entire body and neck of the guitar, paying special attention to nooks and crannies like underneath the strings and the headstock--no polish though.

I have had bad experiences with polish in the past, so I simply use a little distilled water and some naptha for the hardware.

After I Play Wipe down the front and back of the guitar with a soft cloth when I'm done.

I also attempt to prolong the life of my strings by wiping those down as well with a separate cloth.

My fingers are quite oily, so I can decimate a pack of strings in less than a week if I play frequently.

Humidity and Storage Relative humidity is important for any wooden instrument because wood absorbs water, so I make sure I have a humidifier handy in the winter months to make sure that my playing room doesn't get too dry.

Dryer atmospheres can potentially cause finish damage on nitro-cellulose and polyurethane finished guitars as the wood shrinks.

Anywhere from 35% to 50% are good numbers for acoustic and electric guitars.

Don't make the mistake of thinking that humidity only affects acoustics though; electric guitars are made of wood too.

Since I have a couple of nice instruments, I usually keep the serious guitars that I'm not playing in their hard case--but cheapies like my favorite Tex-Mex Telecaster are often found propped up against my amplifier for quick access :D.

I use a sound hole humidifier because of the climate I live in (Lifeguard, in my case), but not everyone will need that.

I make sure to wipe down the strings, fretboard and body after each practice/playing session.

Strings last much longer and sweaty grime does not accumulate on the body and neck.

I have never polished any of my guitars (I have an acoustic and a classical) but the bodies are still as shiny as when I first got them!

Never skip the wipe-downs!

My bass, on the other hand, gets more attention, as I play it so much more.

Besides the wipe-down, I adjust the intonation from time to time and also make sure the saddle height is not too low.

I have a set of precision tools that make this quick work.

I also have to tighten the strap nut screws often, as those get loose after a lot of playing.

keep it in its [hard] case when you're not playing it.

I'm a terrible person - I leave my guitar on its stand next to a radiator when I'm not playing it.

This is a bad idea since the constant changes in temperature will make your guitar go out of tune a lot and may damage the glue used in the guitar

(my excuse is that my room is small).

Putting your guitar away in a hard case rather than on a stand will help to prevent bumps and knocks (horror story: my friend left her guitar on a stand; it got knocked over and a tuning peg came off) and also prevent it from getting too dirty.

Question: A guitar that is used regularly will sooner or later show signs of wear and tear. How do you best care for your guitar and make sure it stays as good as it is for as long as possible?

How do you care for your guitar?

To care for a guitar change the strings, clean the fretboard and headstock, wipe down the entire body and wipe down the strings if not changing them. Wipe down after use. Tighten screws as necessary. Use a humidifier if you live in a dry climate. Keep the guitar in a hard case when not playing it.

Regular cleaning of the guitar will help to keep it in good condition. Wipe the guitar and strings with a soft cloth after playing. Clean and oil the fretboard when changing strings.  Every now and then, make sure that all screws are tight. Check the electronics from time to time. Temperature and humidity are important. Guitar humidifiers are available. Store the guitar in a hard case when you are not playing it, to avoid damage.


You certainly can, but I don't think you will get a great return on investment.

Doing this well requires special equipment that people like you and me likely don't own or have the funds to purchase.

If instead you are referring to wiring your pickups to the miscellaneous controls in the cavity and experimenting with unique switching configurations I recommend checking out the sites of guitar pickup gurus like Seymour Duncan , Jason Lollar , and Lindy Frailin .

They all have wiring diagrams for stock and experimental wirings based on your pickup configuration.

Another good informational site is maintained by a friend of mine named Deaf Eddie, and it's here .

I learned a lot from him.

My Telecaster is specially wired with a series pickup toggle switch, and thanks to Eddie I was able to figure out that I needed to install a certain capacitor somewhere in the circuit to tame the harsh, additive nature of a series pickup configuration.

The results?

Stellar tone with no volume bump and a more versatile Telecaster.

Also, if you are getting into wiring you're going to need to know some basic techniques and how to use a soldering iron, among other pieces of information.

Stewart Macdonald has a decent informational archive on this, and a quick google search turned up a few FAQ's like this one.

Given that pickups used to be (and some maybe still are) created by hand, there's no reason you can't do it if you have the tools and knowledge of electronics to do so.

Of course winding what's essentially an electromagnet by hand is a tricky thing to do, it requires great precision.

Pickups are very simple instruments and are primarily characterized by their winding geometry, number of turns, and resistance.

All the little screw-in terminals etc.

do surprisingly little to the device (although I'm sure many guitarists will be at my throat for that).

The actual process of winding a pickup is as easy as it looks, you can either do it by hand (tedious and prone to error), or build a jig for it

(I have seen plans online for it).

As long as the windings are relatively uniform on the pickup you should be fine.

Personally I just use a lathe and a roll of wire, turn the lathe on and use my finger to move the wire back and forth to evenly cover the pickup.

You essentially wind until you achieve the resistance you are looking for.

Designing a pickup is a whole different issue.

The geometry of the windings (i.e. single vs humbucking, split, etc.) is determined by your sound goal, the resistance is also determined by the sound you like and the application (i.e. active vs passive), very high resistance pickups are typically associated with active setups, "hot" passives are usually higher resistance passive pickups.

The same resistance can be achieved with several different winding numbers (of different thickness wire), in turn the wire gauge you use (and the number of turns per DC resistance) determines subtle sound characteristics due to the extra capacitance of the extra windings.

The magnet used for the base can also affect the sound characteristic, although you are getting into the same kind of territory as trying to argue which wood sounds better for an electric guitar.

If you want to get your feet wet, you can cannibalize an existing pickup (broken, cheap, or otherwise) and try winding it, replicating the wire gauge and resistance readings.

Once you get the hang of it, try playing around with the # of turns/wire gauge/ etc.

to see what sounds better for you.

Basically, no harm in trying it out so just go for it.

I build cigar-box guitars, and a number of builders who frequent the clearing-house site Cigar Box Nation: http://www.cigarboxnation.com/ make their own and even offer them commercially.

The proper wire is not cheap, but it's readily available.

An average pickup requires thousands of windings, and a single break in the very fine wire means you start all over again..

Most makers build or improvise a winding jig of some sort; old sewing machines are popular.

It's hardly worthwhile if you just want one or two for a project, though it might be satisfying.

However, if you were planning to do a number...

As far as I know a lot of pickups are still made my hand but the creation is still aided with specialist tools you'll need to get your hands on first.

In all honesty, it won't work out cheaper than going out and buying yourself a nice set of new pickups, but if you're doing it for the "I made this factor", then you definitely can.

This book is one you can't go past if you want technical specifications on pickups and info on building them yourself

, it'll teach you everything you want to know and more.

I just found this instructions page to make your own pickup...

It will be almost free, but I would not expect much of the sound quality...

Interesting project though. http://www.instructables.com/id/Make-A-Guitar-Pickup/

Pickups can be wired by hand and StewMac / other places sell kits to make pickups.

I myself bought some wire, and magnets off K&J magnetics to make a pickup but haven't got around to it yet.

A possible problem you could run in to is if your guitar has active pickups (uses a battery), then the process changes.

If your goal is to get new sounds out of your guitar, first try raising or lowering the existing pickups.

I have found this to create much more dramatic changes in tone compared to pickup replacement with different flavors of the same design (different strat single coils, for example).

If you want to build your own pickups for the fun of it, go for it!

Your worst case scenario is that you fail miserably and learn something in the process.

Question: I want to know this to see if I can do some modifications to my guitar tone but I don't want to screw the pickups...  is there any guide arround?

Can I wind my own pickups?

S3: The actual process of  winding  a pickup is as easy as it looks, you can either do it by hand (tedious and prone to error), or build a jig for it.  In all honesty, it won't work out cheaper than going out and buying yourself a nice set of new pickups, but if you're doing it for the "I made this factor", then you definitely can.  Pickups can be wired by hand and StewMac / other places sell kits to make pickups. Given that pickups used to be (and some maybe still are) created by hand, there's no reason you can't do it if you have the tools and knowledge of electronics to do so.

Yes - you can wind your own pickups. You could use a kit or try to rewind an existing or broken pickup. To get good results, some equipment may be needed, such as a winding machine.


Check out Dave Weiners Youtube channel he covers all the modes there and a whole lot more, the Mixolydian lesson is particularly good as he applies it to multiple styles and explains why it works.

Dave Weiner Youtube channel

This guy tours with Vai and still finds time to make these lessons, awesome.

From personal experience: Piano theory lessons .

I started piano when I was 10 or so, and

guitar when I was 17.

I was amazed at the similarities.

One of the things most people don't really think about is that they're actually both string instruments, of the "struck" variety (non-bowed, though of course you can "pluck" guitar strings).

The most valuable part to me was interval training .

I was basically tone deaf before I did interval training, and now I can play a lot of songs by ear.

This is really valuable with guitar since it's often when you can't find a good tab for a song.

A large portion of music theory is applicable across all instruments -- notes, keys, scales, etc.

-- and an even larger portion is applicable across guitar and piano (all the above plus chords, for example).

I wouldn't worry too much about getting into guitar-specific theory until you've covered all the basics.

In my opinion this is one of the best sites I have found.

Simple, easy to understand, has examples and resources for practicing and memorizing theory, etc.

I feel it also moves very smoothly from basics to more complicated subjects.

I use it as my primary resource.

Guitar Theory

A good majority of the teachers that come into our store use Alfreds Esssentials of Music Theory.

It does lend itself more towards the piano but its a wonderful series and learning that will only add to your knowledge and ability as a musician.

It aslo gives the option of getting just the book, CD, DVD, or some combination of them all.

Another site worth looking at is http://www.musictheory.net/

They cover a lot of the basics and have some neat tools for re-enforcing the lessons.

The best resource may very well be a well educated teacher.

One that can play you melody and harmony exercises for you so that you can hear what works and what does not would be especially useful.

Try getting one with a Licentiate and/or Diploma in theory.

Also post grad work in theory from a good music school is a great qualification.

My teacher recommended Edly's Music Theory for Practical People .

I've just started it.

I find very readable and appropriate for a complete beginner.

It has worksheets to complete in addition to explanations.

I would also recommend Chris Juergensen's lessons .

He has a very informal way of explaining things, and with examples which I found very useful.

There are plenty of lessons on his website and more in his books .

... learning music theory, especially as it relates to the guitar.

Coursera has free courses from music colleges / conservatories.

They're growing too

so I would expect new material over time.

Introduction to Guitar from Berklee College is highly rated by it's students and covers some foundational aspects such as major and pentatonic scales.

Fundamentals of Music Theory from University of Edinburgh covers a lot of theory and is very information dense but is also highly rated.

Question: What is a good resource for learning music theory, especially as it relates to the guitar, coming from a completely beginner's perspective?  I had a musician friend try to teach me about modes such as Mixolydian, but I feel I should start far more basic, and I don't know what is most relevant to modern guitar music.

What are good resources for learning music theory?

For learning music theory, teachers recommend Alfreds Essentials of Music Theory and Edly's Music Theory for Practical People. Fundamentals of Music Theory  from University of Edinburgh covers a lot of theory and is very information dense but is also highly rated. Introduction to Guitar  from Berklee College is highly rated by it's students and covers some foundational aspects such as major and pentatonic scales.  Online resources include free courses on Coursera,  http://www.musictheory.net/   and Dave Weiner's YouTube channel. Chris Juergensen's lessons are also recommended.

Recommendations include: Alfred's Essentials of Music Theory; Edly's Music Theory for Practical People; http://www.musictheory.net/ ; Dave Weiner's YouTube channel and Chris Juergensen's lessons.  Coursera has free courses from music colleges / conservatories. Introduction to Guitar  from Berklee College is highly rated by it's students and covers some foundational aspects such as major and pentatonic scales.  Fundamentals of Music Theory  from University of Edinburgh covers a lot of theory and is very information dense but is also highly rated. However, the best resource may very well be a well educated teacher.

The best resource may very well be a well educated teacher.


Pre-war Martins were built using Brazilian Rosewood for their back and sides, which is highly prized both for its look and its sound.

But because it's so beautiful, it was also heavily used in the furniture industry as well (I've seen some enormous conference-room tables made of Brazilian Rosewood, and they knocked my socks off), and as a result it was over-farmed.

So since WWII, the supply has been both rare and tightly controlled; as a result it's extremely expensive.

In the late 1960's, Martin switched to using Indian Rosewood instead, which is very nice, but not as nice as the Brazilian variety.

You can still get guitars made with Brazilian Rosewood, usually from small, independent luthiers, but they're very expensive.

Often times a luthier will offer Brazilian Rosewood as an upgrade option on a standard model, and I've seen the upgrade price as high as $1000.

Update : After having done some more research on Wikipedia , here's what I've been able to find out.

Martin developed the dreadnought-style body shape around 1916, but didn't alter it to accommodate a 14-fret neck until 1931.

Between 1931 and the war, apparently the craftsmanship was at its peak, especially when it came to carving the interior bracing.

During the war, materials and skilled labor were both understandably in short supply, so the quality suffered a little bit.

After the war

(I found this bit interesting), the guitars slowly started to suffer intonation problems, apparently because due to higher production, the jigs used to position the bridge gradually eroded and no one noticed, until they did and fixed it.

So there are some other non-Brazilian-Rosewood-related reasons why pre-war Martins are preferred over post-war, pre-1969 Martins.

But honestly, after having looked at a bunch of different sources, it seems as though the answer to the question "Why is a 1936 Martin preferred over a 1956 Martin, since they both used the same woods and design (and assuming no intonation issues)?

" is basically "Because people liked the way they sounded and were willing to pay a premium for them."

Which isn't exactly specific, and doesn't help you if you're wanting to re-create that magic with an independent luthier.

Even more important to the tone of pre-war Martins than Brazilian rosewood is the wood species used for the guitar tops: Adirondack spruce.

Adirondack spruce comes from New England and southeastern Canada.

In the present day and for the past several decades, most guitar tops, and almost all Martins, are made of Sitka spruce, which comes from the Pacific Northwest of the USA, and western Canada.

There is a discernable tonal difference between Adirondack spruce and Sitka spruce.

They switched from Adirondack to Sitka spruce because Adirondack spruce became over-harvested around the time of World War II (it was used in building aircraft and aircraft parts, notably propellors) and billets of suitable size for carving guitar tops became unobtainable.

Adirondack spruce guitar tops are only now becoming available on a few new guitars, because apparently the Adirondack spruce trees are making a comeback.

The dreads were used for bluegrass, and bluegrass guitar needed volume to compete with fiddle and banjo, and without amps, the only way to up the volume is to but heavy strings on it and play it like hell, so they started beefing up the construction so they wouldn't have so much warranty work.

For example, there's less shaving in the bracing and even a "popsicle brace" on more modern Martin dreadnoughts.

These are reasonable design tradeoffs, akin to the difference between the "stock car" in a NASCAR race and the stock car of the same type used on the road, and just as there are mechanics who will make a car ready for racing, there are luthiers who make their bones by taking off-the-rack Martins and making them ready for high-performance flatpicking, like the pre-war Martins.

I don't want to endorse any one luthier, but Dan Lashbrook is such a pioneer in the field that the process is called "Lashbrooking".

Of course, there's also wood drying out and all that, plus "people like pre-war Martins because people like pre-war Martins", but here are some documented and repeated differences.

The wood is obviously important but the major differences are bar fret and no truss rod!!

It allows the wood vibrations to happen freely and generates the real Martin sound.

Tj Thomson fixes pre war MARTINS and also makes new ones with the technic.

The feel due to Bar frets is really harsh and not everyone can appreciate playing the axe built that way.

Lawrence Berndt, Wood god for most guitar builder in the US has come up with mushroom head bar frets and a T bar carbon fiber to replace the truss rod is coming out with a line of instruments for next Namm show 2014.

I believe that the pre-war Martin design positioned the top X-bracing forward about an inch as compared to the later versions, which moved them back, for a reduction in stressed leverage on the top, and corresponding reduction in warranty and repair issues.

The pre-war mahogany backed model(s) are as revered as the rosewood backed model(s), so the wood type is not a distinguishing factor in pre- vs. post-war Martins, IMHO.

Question: Pre-war Martin guitars are revered because of their sound.  What differences are there between the construction of pre-war Martin guitars, and Martin guitars made now.  And are there any companies that are making guitars with any of these "old" features.  Edit:Looking for an answer that is more specific and comprehensive to the Pre-war martins.  Brazilian was found on guitars regularly until the late 60's, and still is found on some guitars, so that can't be the only difference. (or can it?)

How do Pre War Martin Guitars Differ From Modern Ones?

S0: Pre-war Martins were built using Brazilian Rosewood for their back and sides, which is highly prized both for its look and its sound.   In the late 1960's, Martin switched to using Indian Rosewood instead, which is very nice, but not as nice as the Brazilian variety.  Even more important to the tone of pre-war Martins than Brazilian rosewood is the wood species used for the guitar tops: Adirondack spruce.  In the present day and for the past several decades, most guitar tops, and almost all Martins, are made of Sitka spruce, which comes from the Pacific Northwest of the USA, and western Canada.  There is a discernable tonal difference between Adirondack spruce and Sitka spruce.  The pre-war Martin design positioned the top X-bracing forward about an inch as compared to the later versions, which moved them back, for a reduction in stressed leverage on the top, and corresponding reduction in warranty and repair issues.

Many people believe that the pre-war use of Brazilian rosewood is a reason for the desirability of pre-war Martins. More modern production used Indian rosewood. Others believe that the change from Adirondack spruce to Sitka spruce for the guitar tops was more of an issue. However, given the reverence for all pre-war martin guitars, even mahogany backed models, the wood type if not considered to be a distinguishing factor by some people. In order to stand up to the heavier strings of the bluegrass players, later Martins were built more solidly, with stronger bracing. Their x-bracing was moved forward and there was less shaving of the bracing on more modern guitars. There are some companies and luthiers who specialise in taking modern martin guitars and converting them to the coveted older specifications.


Basically, neither fingers nor your wrist should hurt.

Tension is your enemy, you have to become aware of tension before it becomes pain.

In the words of Joe Satriani : No pain, no pain.

If it's the thumb, chances are you're grabbing the neck as if you were falling and needed to hold onto it, that's not the way it should be : the thumb is an anchor for the rest of the hand.

When you feel tension, stop, relax your fingers, neck and shoulders.

Then get back in playing position but do not hold the strings down, use your fretting hand as if it was caressing the strings.

Hold onto that feeling, and carry on practicing.

You can also try practicing slower, which anyway always helps focusing on different aspects of your playing.

Your thumb hurts because you are pushing your thumb backwards on itself in order to support your hand position on the neck.

The only way forward is to practice bar chords as much as you can, and your thumb and hand will eventually become stronger.

Hope this helps.

Here's just some additional thoughts:

My hand usually hurts the most when gripping the neck like this:

This is a grip used by classical guitarists, as they rarely do full-on barre chords.

Note the thumb resting on the back of the neck: when you grip the neck firmly, as you do for barre chords, you put a lot of pressure on your thumb.

It's easy to accidentally choose this grip for barre chords because it initially makes chording faster ; however, stay away from this grip for barre chords!

I prefer to grip the neck like this:

Note how the thumb isn't "pressing" on the back of the neck anymore; it's "pinching" or "hugging" it.

The force from pressing on the strings affects your thumb-hand joint less.

This grip isn't initially as ergonomic as the above grip, but it will help prevent pain, which has been said above is very bad!

I experience this when I haven't played for a while, almost like I strain my thumb.

I haven't found another way to circumvent this but to keep playing (after you've rested your thumb of course

It's like any physical exercise.

But then I might be wrong, which would be great :)

I've answered a similar question before, so same answer.

With barre chords there is a misconception that you need to squeeze hard with your thumb.

It is easily possible to play barre chords without the thumb even on the neck.

If you pull the guitar body onto your own body, then use the fretting arm to pull the barring finger (usually index) onto the fretboard.

I'm not advocating not using your thumb to tension barre chords, but you never need to squeeze as hard as you think.

It's a sort of extension to B.B.King's butterfly vibrato - yes, only fretting one string, but pulling that finger onto it with arm, not thumb.

Please see my answer to an earlier question here: https://music.stackexchange.com/a/3694/1044

You may be using much more tension and pressure than is necessary to fret the barre chord in the first place, and this may be what is causing the pain.

You can train yourself not to squeeze your hand and fingers too hard.

Question: Certain chords cause my thumb to be sore. How can I play in a way to prevent this?

Why does my thumb hurt when I play bar chords?

Tension is your enemy, you have to become aware of tension before it becomes pain. When you feel tension, stop, relax your fingers, neck and shoulders.  If it's the thumb, chances are you're grabbing the neck as if you were falling and needed to hold onto it, that's not the way it should be : the thumb is an anchor for the rest of the hand.  The only way forward is to practice bar chords as much as you can, and your thumb and hand will eventually become stronger.

Be aware of tension and relax. You may not need to squeeze as hard with your thumb as you think. You will become stronger with practice.


Ah, I had to do this very recently, I grabbed a set of Ernie Ball

Not Even Slinky's: http://www.ernieball.com/products/category-916-Nickel-Wound#/product/Not-Even-Slinky-Nickel-Wound-012---056-

and they worked fine on my Telecaster. .012

I actually went a step further and tuned down to A on my Tokai Telecaster and it seems fine, a little loose, but doom all the way.

Hope that helps : )

You have a couple of alternatives.

Either use a heavy gauge string (13-56 or more), or get a baritone guitar.

The longer scale length of the baritone means you can still have a similar level of tension in the same gauge of strings but with a lower tuning.

Epica and Carcass, two bands that have guitarists that tune down to B use .13 strings (though I can't seem to find the respective interviews right now

, I'm pretty sure of the fact).

That being said, I tuned a guitar down to B once with .11 strings.

It's not the best option (playing gets too light), but it's doable.

For metal, I'd recommend going for the .13 though.

I use .13-56's on my Jackson King V and they work beautifully in B, I've even gone down to A with them no problem.

I use Dean Markley DT strings if that helps you.

Buy a 7 string set and use only the 6 lowest strings.

They'll be the correct gauge.

Note that you'll have to adjust the intonation after a big string gauge change like that.

The biggest question that you'll need to answer is how you want to tune the top two strings?

You can tune them the way the 2nd and 3rd strings are tuned on a 7 string (B and G) or like a baritone guitar (B and F#).

The advantage to the baritone guitar way is that all the chord shapes you are used to will work, although the chords will all be different (for instance, an E chord shape will give you a B chord tuned that way).

Question: My band and I are planning to play some Slipknot and maybe Korn (A) but we don't want to get 7-s guitars so what string should we use?

What electric guitar string set should I use to go down to B?

To get down to B on an electric guitar either use a heavy gauge string (13-56 or more), or get a baritone guitar.  Alternatively, buy a 7 string set and use only the 6 lowest strings.

A 13-gauge string set (13-56) seems to be the recommended option for tuning down to A. An alternative may be to use the lowest 6 strings of a 7-string set.


Try playings some new styles of music; like funk or jazz or some other area you haven't spent a lot of time in; listen to some new music, groove along to it, Jazz in particular is awesome for this especially for bass.

Try mixing up your playing a bit, listen to chords, outline them with arpeggios if possible, all of these things will help.

Maybe checking out some songs with more exotic rythm patterns could be useful.

Pretty much anything from a progressive metal band like Dream Theater or Symphony X will do.

Also, check out the work of some bass players with elaborate styles, like Billy Sheeran from Mr. Big, Flea from Red Hot Chilli Peppers or Victor Wooten or Jaco Pastorius.

Also, you could read up on Walking Bass .

I use GuitarPro 6 to tab out repeating and alternating sections.

Playing around with poly-rhythms are fun.

I would tab the line with all 16th notes, then start overwriting sections with rests.

Seeing what comes out.

I would repeat this process with rests in different places, and then also extend the length of existing notes.

The bar arranger functionality helps getting things in place.

This forces me to play with new rhythmic ideas, massive string skipping and neck movement.

A few suggestions: Get the Latin Bass Book by Oscar Stagnaro; could keep you busy for the next decade.

Listen to Bob Marley (or reggae in general) and Paul Simon; can't go wrong.

Get some Jaco Pastorius scores.

His rhythms are mostly straight but he's got several complex lines with awesome grooves to boot.

Another journey that could last years.

Play along to as much music as you can.

Listen to the greatest bassists of all time for fresh ideas.

I tend to do the same thing and one of my favorite ways to escape from getting stuck in this rut is to use a pick.

It kind of forces you to play differently and to use different rhythms.

Sometimes, when I want to write new stuff, I'll go for the pick and it puts me in a different playing style.

Even if your focus isn't on jazz or funk, learning some basic Afro-Cuban clave patterns can greatly expand your ear.

Once you begin to recognize some of the clave, you can hear them in all kinds of non-afrocuban, non-jazz music.

Jet's "Are You Gonna Be My Girl" is a great example.

A teacher recommended a great book to me years ago: http://amzn.com/B0012E2GPU

Question: I've gotten into something of a bad habit in which I either play things in a steady rhythm, in triplets, or galloping, but without much variation, and I feel like I'm stagnating.  What are some good ways to develop other patterns and work them into the rotation?

Varying rhythms on bass

To avoid getting stuck in a rut, playing different types of music is recommended. Checking out some songs with more exotic rythm patterns could be useful as could checking out the work of some bass players with elaborate styles, like Billy Sheeran from Mr. Big, Flea from Red Hot Chilli Peppers or Victor Wooten or Jaco Pastorius.  Listening to Bob Marley and Paul Simon is always a good idea. Listen to the greatest bassists of all time for fresh ideas.   Even if your focus isn't on jazz or funk, learning some basic Afro-Cuban clave patterns can greatly expand your ear.

Try playing new styles of music and listening to different bass players. Adapt your styles and technique. Play chordal patterns more and play with a pick instead of fingers, for example. The Latin Bass Book by Oscar Stagnaro is recommended, as well as reading up on Walking Bass.

The Latin Bass Book by Oscar Stagnaro is recommended, as well as reading up on Walking Bass and playing other scores.


Begin by learning the open strings.

Then picture the relation of each string to the next string (ie "-5" frets and "-4" between G and B).

Picture an octave on two adjacent strings ("+7" frets or "+8" between G and B), and then on two strings a string apart

(ie "+2" frets "+1" string except,

you guessed it, where G and B are involved).

Then learn fret 9 or fret 3 on every string, and from time to time stop your practice and try to name what you were playing or about to play.

Once you feel at least a little bit comfortable, there's a Satriani exercise which has helped me a great deal

: take a metronome, pick a (slow) tempo (slower than 60), then pick a note and on each beat, play it in a new position until you can't find a new location (you can include harmonics if you want).

Then pick another note.

You can cycle notes any way you like, but I recommend using something common, like the circle of fifths or fourths.

Keep going at it regularly, without obsessing about it, and you'll be surprised.

Pick a note - start with E. Play it on an open string.

Now try to find an E on each of the other strings.

Keep trying until you can do that without thinking.

Next day try A. Repeat with one new note a day until you know all the notes.

I can offer a few beginner's tips: Begin on learning all of the note's names in this order: A A

# B C C

# D D# E F F# G G# Learning power chords, and where they are on the fretboard can help you learn notes of the frets on the lower strings.

For example, the root note of an E power chord is E, and because the lowest note of the E power chord is played on the 7th fret of the A string, the 7th fret 5th string must be A.

You will pick these up pretty quickly.

Charts like this one will be invaluable.

Hope this helps.

GuitarDrills

This is a really cool iPhone app that calls out random notes for you to play.

The theory goes if you stick to one string at a time, and keep playing the random notes on that string, the associations are drilled into your head through random repetition.

Do that 5x for the E, B, G, D and A stings and in a very short time, you'll quickly learn where all the notes are on the fretboard.

GuitarDrills is definitely the way to go!!

The most important thing is repetition and time.

Keep at it and, like with flash cards and multiplication tables in elementary school, you will get it.

I learn by seeing and doing.

I found a great theory site and it has a page that explains notes.

The page has a link to a page with a few blank fretboard pictures.

I use these to write the notes down on paper over and over again.

Here is the page explaining notes, Here

is the page with the fretboard diagrams.

To me, the most important aspect of learning the fretboard is to start using the actual note/chord names as soon as possible.

I stuck to reading tabs for way too long and regretted it afterwards.

Also, playing scales and calling (even if only in your head)

the note name is quite helpful.

Finding a note at other places of the fretboard or constructing different chord voicings, can also do you good.

The whole concept of learning the neck will fall into place if you realize the relationship between the different Modal Scales - a simple way to say it would be: Play a C Major Chord and an A minor scale will sound good, as will a G7 scale.

The Greeks gave them names:Phrygian;Lydian, Mixolydian, Aeolian, Locrian, Ionian, Dorian.

Each scale starting point corresponds to a note in a Key that you are playing in and has sound/feel attached to it

: Think Spanish, Hear Phrygian....

Practice each scale and realize that every note you are playing will sound good in that Key.

If you practice the scales in order and think of key you are playing in, eventually you will be able to visualize the notes apart from the scales in any key that you are in - there is no short-cut, ya' need to practice.

This was a very simple way to describe a method employed by people such as, DiMeola, Mclaughlin, Holdsworth....

Here is a .jpg: http://www.fretjam.com/image-files/mode-map.jpg

The most important thing to do is learn the universal note pattern.

The pattern that all notes follow.

Once you know it, it will make learning all the notes easy.

Here's a video I made to show you the pattern. http://www.guitartheoryrevolution.info/blog/2011/01/12/video-how-to-learn-all-the-notes-on-the-guitar-fretboard/

Question: What is the best way to learn the notes on the fretboard.  Are there any good tips on how to do this?

What is the best way of learning the notes on the fretboard.

Guitar drills are the best way to learn the notes on the fretboard, see  https://itunes.apple.com/au/app/guitardrills/id579194059?mt=8. The whole concept of learning the neck will fall into place if you realize the relationship between the different Modal Scales - a simple way to say it would be: Play a C Major Chord and an A minor scale will sound good, as will a G7 scale. If you practice the scales in order and think of key you are playing in, eventually you will be able to visualize the notes apart from the scales in any key that you are in - there is no short-cut. The most important thing is repetition and time.

Begin by learning the open strings and use note names as soon as possible. Repetition and practice will help this to become second nature. Learning scales, modes and chords will also help. Guitar Drills is a recommended app.


Invest in a metronome.

Start the metronome at a speed you can comfortably play at, then gradually increase it.

Focus on playing accurately and properly, don't rush to a higher speed if you're sacrificing quality.

Speed will come from your muscle memory strengthening.

The advice is: Do not focus on playing fast.

Focus on playing expressive!

Joe Satriani said (I can't find the exact quote, this is how I remember it): There are very many players that have a good technique.

They play very fast, their fingers stretch very good.

But very few of them know how to be expressive - and that is the most important thing.

But, if you still want to play very fast (shred), you should checkout Michel Angelo's DVD " Speed Kills ":

I think this is the best material there is.

Play with a metronome, while you are practicing drills.

It's nice to be fast

but it's really important to play in time.

Once you get a speed in beats per minute where you are comfortable and are playing smoothly and cleanly then you you start bumping up the speed on the metronome a little at a time each time practicing until you are clean and smooth at the speed.

In my opinion and if you watch a video of John Petrucci playing

it's really apparent,

how cleanly and smoothly you you learn to play at lower speeds will determine how fast you are at higher speeds.

It's all about efficient movements of your hands.

It also helps to video tape your hands while playing and watch for wasted movements, the less you have to move you fingers

/hands the faster you will play.

Speaking of a certain solo you want to speed up; Do not use metronome until it %100 gets into your muscle memory

and you can play perfectly and expressively in slow tempo(or No-Tempo)

Until then just play slow and "FOCUS" on your right and left hands watch if there is any uneconomic excessive movements, the angle you hold the pick, how much of the pick is flapping outside..

etc.

The more you focus on anything the more experience will be permanent.

While focusing, spot and constantly eliminate any muscle tension in your arms and hands(this is HUGE)

Your goal is to have an incredible lightness in your fingers.

If you feel exhaustment or pain in your fingers after a small solo, chances are you are playing against a lot of muscle tension, which can lead to injury and limit your speed.

(don't confuse this with the mellow tiredness of a muscle group after a workout

) "Listen" the sound you create, make it sound flowing and "BEAUTIFUL" in any speed, as if even with that speed it would play on radio and people would love it.

Every note should have a definition.

When it starts to sound "beautiful" and correct, then preferably with a metronome little by little increase the speed without compromising that beauty and quality.

But speed should come to you as a result of excellent conditions, and not you are trying so hard for it.

All of a sudden you will feel like you can play a little faster with any extra efforts and tensions.

Then you never have fear of playing the solo right or wrong for that speed, it will always be right.

it will not be one big moment in the song that you feel the fear before solo if your gonna pull it correctly now or not.

Then you will get stuck on certain parts of solo, analyze them whats going on(which picking mechanics

you use(up/down), are you changing strings with an up or down stroke ..etc) and isolate and only work on that 2-3 note spots maybe 1000 times(this is called efficient practising)

then slowly incorporate everything together by the time.

After a while you will be saying to yourself "

It's so easy, how come I couldn't play like this on the first time"

There is this pc program that helps you do

just that check it out:

http://www.guitarspeed.com/ note: I am not spaming in any way nor affiliated to this site.

Question: I've seen people like  John Petrucci  playing incredibly fast with their right and left hands, but I can't seem to get any faster than I am now (which is speedy, but not near as fast as John).  Is there a technique I can use to increase my alternate picking speed? What about my fretting speed?  Edit: I have heard of "circular picking" and picking with just your thumb and index finger. Are either of these better for playing with speed?

How do I improve my picking and fretting speed?

Improving picking and fretting speed takes time and practice. Start by playing with a metronome, while you are practicing drills. Start the metronome at a speed you can comfortably play at, then gradually increase it. Once you get a speed in beats per minute where you are comfortable and are playing smoothly and cleanly then you you start bumping up the speed on the metronome a little at a time each time practicing until you are clean and smooth at the speed. It's all about efficient movements of your hands.  Your goal is to have an incredible lightness in your fingers. Speed will come from your muscle memory strengthening.

Using a metronome is good to build speed. Aim for efficient and light movements without tension. Speed will come as your muscle memory strengthens.


It depends on how you keep the guitar; the higher the humidity the more likely the strings are get get rusty and tarnish; in fact the whole guitar needs extra care in those conditions; good rule of thumb is if the guitar is not to be used keep it in a dry place at room temperature in a case if possible.

If you keep the guitar in good conditions the strings will take years to wear out if not played.

If you get sweaty hands when you play the sweat will remain on the strings and cause them to corrode.

Give your strings a wipe with a cloth after you play and this should help to mitigate the problem.

You can also get string cleaning products

but I don't think much of them.

How do you know if you need new guitar strings?

For Acoustic and Electric guitarsCouple of questions to answer: 1) Have you had the same strings on for over 2 months?2)

Are your strings rusty?3)

Are your strings rough?4)

Do your strings sound dull?5)

Had a string break recently?

If you answered yes to any of the above, its probably time to replace your strings.

Because of moisture on your fingers and in the atmosphere, strings corrode and rust over time and their ablility to vibrate diminishes.

This not only causes the sound to dull but even worse, the feel of the strings becomes rough and will hurt or even damage your fingers.

Strings can also become brittle from too much vibration, just think of how a paper clip snaps if you twist it too much, the same happens to strings - especially if you use a lot of different tunings.

If you play a lot, say for 2 hours a day every day, then you should look at changing your guitar strings every month.

If you play less, but still strum most days, the max you should leave them on the guitar would be 2 months.

Strings are quite cheap, about £5 for a set of 6.

There is an alternative to changing your strings this often.

You can buy coated strings.

These last longer due to a coating on the strings that prevent dirt build up and corrosion.

Coated guitar strings tend to last 3 to 5 times longer than normal strings, so you can leave them on for longer.

These still need to be changed though.

At least every 6 months these should be changed as they are also prone to breaking because of the vibrations of the string as explained earlier using the paper clip analogy.

Coated strings do cost more, about £12 for a set of 6, but last longer, so can work out more cost effective.

Ernie Ball Coated Strings have titanium reinforcement to make them stronger and less prone to break.

For Bass Guitars, the strings are much more substantial and tend to last longer and hold their tone.

Change bass strings at least once a year.

For Classical Guitars with nylon based strings, again because of the way they are made, they don't rust, so last longer.

They do age though, so do need replacing.

When they age they tend to stretch and become hard to keep in tune.

If you don't want to wait till this starts happening, you should look at changing them every 3 to 4 months.

So to summarise:Change your Electric / Acoustic uncoated strings at least every 2 months.

Change your coated Electric / Acoustic strings at least every 6 months.

Change your Bass guitar strings at least once a year.

Change your Classical guitar strings at least every 4 months.

In my experience, old strings start to weaken at the nut or on the bridge, basically where they are stressed by pressing against the hard surface.

They develop a kink at that point.

This means that when you try to fine tune the string, it "jumps" suddenly to a wrong note just either side of the exact right note, and it's a killer trying to get them in tune.

And I think this happens regardless of whether you're playing it often.

This sadly happens to me quite a lot.

I have hyperhydrosis so my hands sweat quite a lot

and I find if I play for a bit then put my guitar away and come back to it in a couple of days it shows signs of rusting.

While not everyone suffers from the same problem as me, I'm sure even a small amount of sweat from the string friction would be enough even if you don't notice.

Question: Do strings wear because of the pressure applied to them or any other factor, or do they stay in quite the same shape as long as you don't use them?

Do guitar strings wear when not used?

Whether guitar strings wear or not depends on how you keep the guitar; the higher the humidity the more likely the strings are get get rusty and tarnish; in fact the whole guitar needs extra care in those conditions; good rule of thumb is if the guitar is not to be used keep it in a dry place at room temperature in a case if possible.  For Classical Guitars with nylon based strings, again because of the way they are made, they don't rust, so last longer. However, If you keep the guitar in good conditions the strings will take years to wear out if not played.

Humidity and sweat on the strings can cause the strings to age, even when not being played. Strings can become weak through vibration and at wear points. Nylon strings are less prone to aging. However, some people say that If you keep the guitar in good conditions the strings will take years to wear out if not played.


It must be loud enough, so you can hear it above your playing.

I play really loud folk guitar, so I bought myself a really loud mechanical one.

It must be exact.

Usually metronomes do not have any problems with it - they are counting their time intervals very exactly.

It is portable, if you are planning to take it with you somewhere to practice.

And the most important - the good metronome is the one you will use during your practices.

For me, if an item is good, if I like it esthetically, I will use it more likely, because it's a pleasure to take it out of the closet and turn it on.

Personally i go for the mechanical ones, because they have a certain aura.

But an electric one works just as fine.

Some metronomes can show tempo names (Allegro etc.)

as well as time frames.

This might be useful if you have sheets that give only a named tempo, and not numeric time.

All the points of Silver Light are valid.

For some extra features You can look for:

What kind of divisions and metrums it supports (mechanical metronome must be equipped with bell for this feature)

Also note that mechanical metronome is vulnerable.

If it hits the ground :( it might loose it's accuracy Electronic ones sometimes comes with headphones output - which might be very usefull if You're a drummer.

I personally like to look on metronome pointer when playing.

This is easy in mechanical, and with electronic ones this the question of display quality/features

I'm convinced that the best metronome is the one you always have with you.

For that reason, among others, I use an application for my iPhone.

If you have an instrument with lots of room in the case, this might not be an issue for you, but for some folks, including me, it is.

An application has several distinct advantages: It can be as loud as you want.

(You can plug in speakers or headphones)

You often have a lot more flexibility in terms of beat divisions, groupings, and even emphasis.

Some apps will let you set your choice of sound/light combinations for each possible beat/division.

It's truly portable, and there's no forgetting it.

It's cheap.

(Provided you already have the smartphone or iPod touch).

It can be updated and changed by the developer (almost always for the better) With some applications you may need to worry about the apps ability to keep a perfectly steady beat, especially on older devices, however I've tested my app against several metronomes, including the one musikliebhaber203 mentioned, an extremely expensive, not-so-portable metronome, and it kept time just as well at all

but the most extremes of fast and slow.

(Fast like 250-400, slow like 25-40).

I really think that it depends a lot on what you're using it for primarily.

Many people, including me, just set the metronome to the correct time signature/tempo, and go.

Some people need more customizability, and that's where an app comes in handy.

The best part is that you could buy 5 apps to see which is best, and still spend far less than any physical metronome.

It depends on what you need it for.

I purposely looked for one with a bright light since I play a brass instrument that often overpowers the ticking.

I also like a metronome that can subdivide and accent certain beats/parts of the beat.

My undergraduate band director had one that could tick louder than our symphonic band...

so check out the features and pick one that does what you need it to do.

Your choice may differ based on what instrument you're playing.

For example, metronomes intended for drummers are often larger, more expensive and have more complex beat patterns available.

But if you're playing an orchestral instrument or guitar for example, there's a good chance you won't need the extra drummer-intended features and can go with a slightly simpler and more portable model.

Question: I am getting a metronome, and I need to know what traits separate good metronomes from bad metronomes. I'm not looking for a subjective "I like this metronome" discussion, but rather an answer that tells me how to separate one metronome from another and helps me determine which is best for me.

What should I look for in a good metronome?

The metronome you need depends on the instrument you play. It must be load enough to hear and exact. It must laso be portable. There are now apps available which are customisable. The best part is that you could buy 5 apps to see which is best, and still spend far less than any physical metronome.

It depends on what you need it for and it should suit your instrument. It should be loud enough. It has to be precise. Do you need it to be portable? App-based metronomes are highly customisable and inexpensive.


The mic you use depends on your budget.

A dynamic mic (eg the SM57/58) do good jobs at the lower end of the price scale.

Condenser mics however capture a wider range of frequencies during recording so therefore sound slightly better, although this is based on the preference of the player.

They are more expensive however, with some going up to and beyond £1500.

For a good, cheaper condenser mic that still does a good job I would recommend the Rode NT5.

When it comes to recording, position the mic about 30-40cm away from the guitar, at about the level with of the lower end of the fretboard (near the sound hole).

Angle the microphone body towards the sound hole from it's position.

You can experiment with what gets the sound that you want, moving the mic around.

Trying different mic techniques can also be interesting.

I have known people to place one mic pointing at the fretboard, and one down at the sound hole, to give an interesting stereo effect.

And yes, plugging the output cable from an electro-acoustic into an audio interface is absolutely fine.

From there, inside the software, you can change the EQ, put effects and reverb and whatnot on the recording.

Note however that the output from an electro-acoustic sounds different from a mic-recorded acoustic guitar.

Sometimes you just want that background strumming (particularly with twelve-strings) sound that electro-acoustics don't always produce.

Hope this helps :)

I would say a condenser mic at a reasonable distance from you; something like a Rode NT1A is a good and reasonably priced solution for this; and will pick up vocals really well at the same time.

Here is an example I found on Youtube with the search nt1a acoustic guitar

And yes it is acceptable to just plug the electro acoustic into a recording interface

, you can do a lot with VST's to make the guitar sound as if it were being played live.

Id suggest a matched pair of CAM i2 .

You get very much for a little money, if you direct one at the fretboard and one at the corpus.

There is no single correct answer to this -- every answer will be subjective, and your options will change dramatically depending on your price point.

Every microphone and mic preamp has its own character, and it's up to you to determine whether that character is what you want for that application.

The previous poster is correct -- the Shure SM 57 is the Swiss Army Knife of microphones.

If your budget is under $100, you can pick up a 57 and use it on just about everything.

It won't always be the best mic for the job, but it will record anything from a screaming half stack to classical guitar.

They are famously durable, a trait which is not necessarily shared by high-end condenser mics.

If you go to a recording studio, you will most commonly see acoustic guitar recorded with a high-quality small diaphragm condenser microphone.

As for whether you should go for a matched pair of small diaphragm condensers, this will also depend on both your budget and the specifics of the application.

If the acoustic guitar is the foundation of a song, you may find it useful to record in stereo.

If you record in stereo, you will likely find that you get better results with a matched pair of small diaphragm condensers.

There are more threads on recording boards about which small-diaphragm condenser mics are the best for the money than one could ever reasonably read, so the best thing for you to do is go somewhere where you can test several options with your guitar, and pick what sounds best to you.

There are some people out there who work miracles modifying cheap microphones.

Mark Fouxmann can take an AKG C-1000, which you can find for under $100 used, and make it sound like a mic that costs ten times that much. http://tapeop.com/reviews/gear/75/mod-of-the-akg-c-1000-s-mic/

I have one of these modded C-1000s, and I've A

/B'ed it in a recording studio against some very high-end mics, and been very impressed with the results.

In regards to placement, this is again subjective.

The default placement is around the 12th fret, away from the soundhole.

You may find, however, that there are other placements you like for different applications.

Try having a friend play your guitar while you listen.

Move your ears to different spots, and find what sounds good to you.

There will never be a single right or wrong answer.

Know your options, experiment, and trust your ears.

What type of microphone should I use for this, a dynamic or condenser type?

Both are widely used for acoustic guitars.

If you specify the sound, style or ensemble/live/session you are targeting, we can give more specific advice.

Are there any tips for where the mic should be positioned in relation to the sound hole?

Yes, probably not right at it, a bit off axis, but experiment. More than that, there are other locations, like closer to the bridge or closer to the neck, again depending on the sound and the instrument.

In general, pointing or moving the mic:

Towards the bridge - results in a brighter sound, more attack Towards the neck - results in more bass, less clear sound Over the frets

- Using more than one mic, some people even mic the neck of the guitar over the left hand to get string noise and fret-hand resonances.

That's more advanced though, and usually a condenser.

Here's a video about that type of mic placement.

- here the engineer uses two large diaphram condensers.

They are located in the same place (14th fret), but angled differently so one is pointing towards the bridge and the other towards the headstock (tuners), to get the entire instrument. ...

is it acceptable to just plug it in

(it is an acoustic-electric) straight into a recording interface?

Totally!

It's a unique sound.

Depending on the electronics it can sound a bit sterile and harsh, but very clean.

Question: I want to record myself playing my acoustic guitar. What type of microphone should I use for this, a  dynamic  or  condenser  type? Are there any tips for where the mic should be positioned in relation to the sound hole?  Alternatively, is it acceptable to just plug it in (it is an acoustic-electric) straight into a recording interface?

How should I mic up an acoustic guitar?

To mic up a guitar use a condenser mic at a reasonable distance from you; something like a Rode NT1A is a good and reasonably priced solution for this; and will pick up vocals really well at the same time.  Another option is a dynamic mic (eg the SM57/58) do good jobs at the lower end of the price scale. Try different positions and set ups until you get the sound you desire. The default placement is around the 12th fret, away from the soundhole.

Both type of microphones are suitable. The dynamic Shure SM57 is a good all-rounder. Condenser mics are more expensive and capture a wider range of frequencies. Microphone position for guitar varies depending on tastes. Move the mic around to see what suits you. Start at around the 12th fret, away from the soundhole. It is perfectly acceptable to plug directly into a recording interface.


The one and

just about only suggestion I have is to use coated strings such as Elixirs.

I used to have 'em on my #1 and #2 acoustics, and I liked the feel of them.

I never had your problem, so don't know if that's an acceptable solution to you.

You can use for example GHS fast fret to clean the strings before and after playing.

This should do the trick...

Also wash your hands before playing.

As VarlogRant points out coated strings will be better as well.

Some alloys are more resistant to rust and corrosion as well.

Nickel strings are available and should be quite resistant.

put on a new set of strings, and make it a habit to clean the strings after each use.

It'll keep dirt from building up and corroding the strings.

I recommend this: http://thestringcleaner.com

I have the same problem you do.

If I forget to wipe down anything metal I've sweated on, it rusts/pits/etc.

I experimented with different brands of strings and found that of the uncoated strings, DAddario lasts the longest for me.

Also, Old School Aqua Velva after shave works great to clean up the strings after a session.

I sprinkle a little on a lint free cleaning rag and wipe down each string after each playing session.

I still have over half the bottle of Aqua Velva

left that I bought in roughly 1985.

Use it sparingly.

Hope this helps.

Guitar strings are, to an extent, sacrificial.

As in, they're not expected to last too long.

When I was gigging often and regularly, they would get changed every other gig.

The tone of new strings has that 'twang' that older strings have lost.

Pro's change every gig, but they can afford it !

Washing your hands before and even during your play time will help,and keeping the strings dry is also good.

I used to play with a guy who would splash French chalk (baby powder to you and me) all over guitar , strings and hands (and us if we were in range!), to lubricate and keep his strings dry.

WD40 is a water repellant, good for spraying on strings after playing,

BUT - slip something under your strings, over the fretboard to stop it reaching the wood.

It may not be detrimental, but could be seen as mental.

Completely off the wall, you could try surgical gloves that are a good tight fit, for at least part of your practice time.

Someone I know carries Talcum Powder (I think this might be the same as baby powder?)

as part of his electric guitar "kit bag" and is very fastidious about using it to keep his hands dry.

So you might try that.

Does anyone use the "eyebrow" trick?

Basically just rub your fingertips against your eyebrows

, that oil adds a nice slippery feel as you slide across the (mostly e B G) strings.

Admittedly this doesn't prevent rust, but I thought it worth mentioning since it helps the strings feel "less rusty".

I've tried Finger-Ease lubricant, and there's no comparison.

I know it sounds dumb, but give it a shot you might be surprised.

When I moved back in with my parents living near a lake after living in a third floor apartment in the city my guitar strings rusted stupidly quickly.

You have to remember that the humidity in your region is going to affect your strings.

Strings that I could go two months with no rust in my apartment would rust after two weeks living with my parents.

Sealed container, wiping your strings, buying coated strings, these usually work.

Question: I suffer from hyperhyrdosis which means my hands sweat quite a lot. The problem is that because of this my electric guitar strings seem to rust quite quickly because of this. Is there anything I can do to stop my strings from rusting so easily? Perhaps a spray or solution I can wipe over even after or before use.

How can I stop my electric guitar strings from rusting so quickly?

Some people prefer coated strings and others find uncoated strings last longer. However, all agree that the strings must be cleaned regularly, preferably after every use. Washing hands before playing is another good tip.

Coated strings may help with this issue. Talcum powder on the hands may reduce sweatiness. Make sure you wash your hands before playing and wipe the strings after playing. Products such as GHS Fast Fret are available to wipe strings, or even use cheap after shave.

Be sure to wipe the strings after playing. Products such as GHS Fast Fret are available, or even cheap after shave.


Since the comments ask for a more complete answer from me, I'm going to give it a shot.

Most people I know call this technique double stops.

In the case of Soul Man, the double stops are mostly based on a 6th interval, starting with a (sorta) outline of an E7: |-----4----2-2----7---9---11---12-| |---------------------------------| |---2/4--4/2

--/13-| |---------------------------------|

|---------------------------------| |---------------------------------| Another way to use double stops is to slide around inversions of diatonic chords based on the root, 3rd and appropriate 7th interval.

A good example of this is the song 3rd Rate Romance by The Amazing Rhythm Aces .

I'm horrible with this jTab thing and tab in general, which I why I answered in a comment.

You can check here for a more complete example that even covers a bit of Soul Man.

A google search for "double stops" also turns up a fair amount of material.

He's just picking there in a country style; Dont know if there is a specific name for the technique:

As Follows (Assuming this is the bit you mean ): $4.15 $4.17h $2.20 $4.17 $2.18 $4.17 $2.16 $4.17 $3.19 $4.17 $3.17 $4.17 $3.15 $4.17 $3.14 $4.15 $4.17 Note this doesn't go up and down the neck but is essentially the same thing; the root G is often muted in the track.

Actually from the timbre of the bit in that track he's probably starting the run on the G string at the 12th fret.

Pattern's slightly different from there

but im

sure you'll figure it out.

I think the technique you are looking for is a double stop (although, I don't really hear it on the Beck piece, it's on the others).

A double stop, generally, is playing two notes together at the same time.

However, double stops are used a lot in blues with a rather distinctive sound.

The double stop tends to be V - I or I - III, although when using them heavily in a solo, you could certainly use other intervals (like the 6th suggested by JimR in a comment).

A search for "double stop blues" on google will give you a bunch of lessons and example licks.

The following isn't actually a lick, but it's a series of double stops that I would use regularly over a blues solo in A.

The first two are A, the third one is the E, and the fourth and fifth one are the D, these can be used over the chord changes, picking up the grace not (D#) as you progress from V - IV.

$B.5.$e.5 $G.9.$B.10 $G.9.$B.8 $G.7.$B.6 $G.7.$B.5 $G.14.$B.13 $B.17.$e.15 $B.17.$e.17

It's called chicken picken.

You use your fingers/nails to pick the string very hard causing it to slap against the neck similar to slap bass guitar.

The type of run he is doing is using intervals descending down the neck.

He's not doing exact chicken picken

but it sounds like a hybrid between normal and chicken.

Generally when you do this you alternate with a thumb or pick attack that is muted and then the hard attack with the fingers giving a very characteristic sound.

Eddie VH does something similar with "Finish What You Started", which in context of the song he clearly associates with a country chicken-pickin' kind of thing, but to my ears connects to the soul thing.

I'd strongly suggest King Curtis and "Memphis Soul Stew", where Cornell Dupree pulls it out.

Another good example of these R&B double stop licks is Jimi's take on "Like A Rolling Stone" at Monterey Pop.

The part that really connects to is how for many of the notes, the pop and rhythm of it is much more important than the actual note played, but it's more a part of what you might hear a hot country picker play in a lead context, while in the Isley, Curtis and Sam&Dave context they're more a popout lick in a rhythm guitar context.

Question: Jeff Beck plays variations of this blues lick - 1:28 into "You Know What I Mean" - It's a basic blues riff (the beginning to Dust My Broom (Elmore James) played with variations up/down the fretboard using the G and E string -  What the heck is this technique called?

The intro to "Soul Man" - the verses in "It's Your Thing" (Isley Brothers) - What is that technique called?

A double stop, generally, is playing two notes together at the same time. You use your fingers/nails to pick the string very hard causing it to slap against the neck similar to slap bass guitar.

The technique is known as playing double stops or chicken pickin'.