Playing in “diamonds” will get your internal metronome (clock) in better sync with the music. Once you get the “feel” of diamonds, you can start strumming on each single beat. If you know what the strumming rhythms of the song is, you could then practice that, but not before getting the “diamonds” and single note strums down. Here is the breakdown for practicing these charts:
Transitions
Diamonds
Single beat strums – ¼ notes
Actual strumming rhythm of song
In summary, charts will allow you to play music that you have never played before. At first your reading will be slower, just like it was when you first learned to read a book. Then as the months and years progressed, so did your reading. Sooner than later, you will be able to look at a chart and play it correctly for the first time, just like reading a book. Practice, practice, practice and have fun!!
Remember... PRACTICE, PRACTICE, PRACTICE! ...and HAVE FUN!
Counting Song
IN 4 Capo 2 (C feel)
Big Cheater
IN 4 Capo (G feel)
Big Cheater (Number System)
IN 4 Capo 2 (G feel)
Hurry
IN 6 Cap 5 (G feel)
Hurry (Number System)
IN 6 Capo 5 (G feel)
Ellen
IN 4
Hurts
IN 4 (Capo 1 G feel)
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Number System Chart
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How to Practice to Chord Charts
If you are still new to chords and moving between them, it’s best to first practice your transitions. To do this, move your fretting hand (relax the strum hand) back and forth between 2 chords. Just toggle back and forth without strumming being mindful and exact about your fingering. Try this for a bit with all the chord transitions in a song. Once you get the left hand “working,” you can strum to make sure the chords sound nice.
Remember that every great guitar player struggled with the same chords that you will, most likely, struggles with! DON’T GIVE UP! If you hear something that doesn’t sound right; stop, look at your hands and check your fingering. Once you have the transitions down, it’s best to play the chord on the “1” and hold it out for the full measure or 4 beats (if the song is in 4).
Often times, this is called a “diamond” and you will see this written in many of my charts when a chord is to be held out for a full measure. Playing in “diamonds” will help you to improve your sense of time. Once you get the feel of diamonds, you can start strumming on each single beat. If you know what the strumming rhythm of the song is, you can then practice that, but not before getting the “diamonds” and single note strums down. Here is the breakdown for practicing these charts:
Transitions
Diamonds
Single Beat Strums
Actual strumming rhythm of the song
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How to Use a Capo
A capo (pronounced “cape-o”) is a moveable bar that can be attached to the fingerboard of a fretted instrument to uniformly raise the pitch of all the strings. Capos allow us to play songs in different keys, without altering our fingering.
Remember, the musical alphabet is as follows: A, A#, B, C, C#, D, D#, E, F, F#, G, G#
Let’s say we have a song that is in G (Major) and the chords are G, C, A- and D. If we want to transpose (change keys) that song up a half step (1 fret), then we would place the capo at the 1st fret and move our chords up 1 fret as well. Doing this allows us to play in our new key of G#, while still allowing us to play in a “feel” of G. If we did NOT use the capo, we would have to play four bar chords (G#, C#, A#- and D#) - which is no fun!
With our capo at the 1st fret, we will have transposed to G# without having to play all those pesky bar chords! This will also allow us to free up some fingers to add ornamental parts to a once basic chord progression.
When I chart a song, I will notate at the top of the page if you need a capo and where you should put it on the neck/fret board. I will also sometimes denote what “feel” the song will be in. For the song example in the above paragraph, I would notate “Capo1(G feel)”.
G, C and D are the easier keys (“feels”) to play songs in. You will often find songs that are in another key, but you can simply use a capo and follow the chord structures of those easier keys.
It’s easy to transpose using the number system chart that I have created; if you can work a little basic math, you don’t even need it, though. If you use the musical alphabet above, you could capo 1(G feel) to play in G#. To play in A with a “G feel”, capo at the 2nd fret. To play in B, with a G feel, capo at the 4th fret. Similarly, you can do this for keys C and D. If you want to play in the key of D, but with a “C feel”, capo at the 2nd fret.
So what type of capo should you buy? My favorite brands are Kyser, Shubb and G7th. The Kyser is a very easy to use clamp style of capo. It’s also handy because you can easily clamp it to the head stock of your guitar when you’re not using it - so you’ll always have it when you need it! While I like using the Kyser for the quick “on and off” needed during live acoustic gigs, I have found that it seems to throw my electrics out of tune a bit from the pressure of the spring.
For this reason, I prefer the adjustable style of the Shubb and G7th for when I’m playing live with an electric (if I desire a capo) and for studio work with both acoustics and electrics. Here’s a quick video lesson on how to use a capo.
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Fingerpicking
Fingerpicking is the use of one’s fingers to strike or pluck the strings instead of using a pick (plectrum). This technique is widely used in classical, flamenco, Spanish and folk music; however, it has also been used in nearly every genre of music - including pop and rock. Fingerpicking allows the player to be more selective regarding what strings should sound when playing the guitar polyphonically (multiple simultaneous notes).
For example, if I want to play an E minor chord, but don’t want the fourth and fifth strings to sound, I would either need to mute them or just not play them at all. If I were strumming the guitar, you can see how playing the same chord without the fourth and fifth strings might be awkward.
However, with the use of fingerpicking I can pick strings 1, 2, 3 and 6 easily. That’s a very simple explanation of the myriad of possibilities that only fingerpicking will allow. Fingerpicking also has its own distinctive sound.
When reading music that uses fingerpicking, you may see the term “PIMA” or the initials P, I, M or A used. PIMA is an acrostic for the thumb and the first three fingers of the right hand. Because of its length, the pinky is often times not used. PIMA is often utilized to indicate which fingers to use in picking. The traditional Spanish words that we derive those letters from are:
Pulgar = Thumb
Indice = Fore Finger
Medio = Middle Finger
Anular = Ring Finger
I know! I don’t speak Spanish either. It’s certainly a lovely language, but we need something else to help us remember the fingers. Here’s how to think about them.
For P, think of the guitar pick - or if you’re in the UK, they call it a plectrum. A lot of beginning guitar players will use their thumb instead of a pick. Got it?
For I, think of the index finger
For M, think of the middle finger
For A, think of the anniversary (ring) finger
Fingerpicking, like any other technique that we are going to study, requires practice, attention and a lot of patience. This is a technique that f
eels awkward at first and too, with time and discipline, miraculously gets easier. If the definition of an arpeggio is a broken chord or a chord where the notes are played independently of each other, then you are about to play a lot of arpeggios.
Until you get more comfortable with the fingerpicking hand playing the prescribed patterns, it's extremely important that you focus all of your attention on the fingerpicking and not the fretting. For this exact reason, I want you to start this process by playing an open E minor chord, on strings 1, 2, 3 and 6 only. We won't be playing strings 4 and 5, which are the only strings that you would be fretting for our traditional E minor chord.
So, let your fretting hand relax. You won't be using it to start off here. Now with your fingerpicking hand, place your thumb (P) on the sixth string, your ring finger (A) on the first string, your middle finger (M) on the second string and your first finger (I) on the third string.
Now, just rest your fingers there for a moment. I want you to indelibly (forever etched in your mind) picture how your fingers are sitting on the strings. Remember this one concept and fingerpicking will almost never be an issue for you. How your fingers are sitting on the strings is the basis of 99% of the fingerpicking that you will encounter. Don't take your fingers off the strings just yet!!!!
Now, notice the two headings on the fingerpicking exercise page follow this description: “Songs in 4” and “Songs in 6”.
The first example under “Songs in 4” says PIMA. That means if the song count is 1, 2, 3, 4, you would pick P, I, M, A, or thumb, index, middle, ring. You get it? I knew you would... you're smart like that. Once you get this basic feel down, work your way down the list. This may take 5 minutes or it may take an hour. There is no crime in over practicing. It will only make you more ninja-like!
So the next exercise would be P, I, A, M, and so on. Practice each exercise for a few minutes. This will assure that you have a good feel before moving to the next exercise. When you're done with that list, move over to the next list to the right, where you will find finger combinations. When you see two finger letters underneath a beat, that means that both of those fingers should be played simultaneously (at the same time). On the 3rd list to the right we have more of the same, only this time the thumb shares in the combination pick. This is what is referred to as a pinch-pick. It is called a pinch-pick because the motion looks much like a pinch if executed properly.
When you come to this list, this section will make more sense.
Fingerpicking can be done in any time signature. However, 4/4 and 6/8 are by far the most common. In fact, they will make up the majority of the songs that you encounter. To get you started, I have included 28 exercise patterns. Granted, some of these patterns you will never use, but many of them you will.
As an exceptional guitarist, however, we want to be versatile! Practicing all the patterns will not only develop your dexterity in regards to fingerpicking, but it will also get you to start “thinking outside of the box” and coming up with your own patterns. Depending on the genre of music, picking with your nails is preferred over not having nails and playing with your fingertips.
Classical, Spanish and flamenco styles almost always require the use of fingernails while country “chicken pickin’” sounds better when you don't have nails. YOU are the artist here. You get to choose what best suits you. Be open and experiment with some different styles to see what you're most comfortable with.
Fingerpicking Exercises - Songs in 4
Fingerpicking Exercises - Songs in 6
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Where the Notes Fall on the Fret Board
The “line” notes (EGBDF) appear on the musical staff as shown below:
The “space” notes (FACE) look like this on the musical staff...
From the low open E string to the fifth fret of the high E string, here’s what it looks like...
Now, when you locate these notes on the fret board of your guitar, you find the Low E (the lowest note on your guitar with standard tuning); middle C and the high A from the above staff - all within the first 5 frets!
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Springboards
I’m often asked by students, “How can I find my way around the fret board more quickly?”
When watching a great guitarist, they often times, make it look effortless or even impossible. Without knowing the tricks it seems like magic. But alas, it’s knowledge and VERY attainable. Let me emphasize that these are learned skills. Sometimes I’m also asked why one would even care to know the notes on the fret board.
Some players may never desire to know such things, or what they play does not require them to know it as readily. But what they don’t know CAN hinder their playing.
Don’t misunderstand what I’m trying to convey. You might go your whole life and play in a band and NOT know the notes on the fret board. However, in certain (and many) settings, if you don’t have that knowledge, you are going to look pretty silly NOT being able to play something that is required of you.
Let’s say, I walk into a studio and the producer hands me a chart that is in the key of C - I sure better know where a C is! If I don’t, I’m going to have problem playing a solo or improvising in any way. So the short of it is, knowledge is power and since you are smart enough to be filling your head by reading this, I trust you are someone that wants to excel and are ready for the challenge.
When it comes to knowing your fret board, there are a myriad of techniques that you can use to determine which note they are playing at any given point in a song. Below are two diagrams I refer to as “springboards”, which are great tools to enable you to know exactly where you are on the fret board.
Stationary Springboards Diagram
Know the names of your open strings E, A, D, G, B and E. Also, remember where your root notes are for all your open chords - E, A, D, C, G etc.
Know the octaves of your open strings which are at the 12th fret and those open chord roots which are exactly 12 frets higher than their originals. So there your E, A, D, G, B & E are again.
Remember how we learned to tune the guitar to itself using that 5th/4th fret technique? Well, since you know that already you have another springboard
12 frets up from the notes found on that tuning technique will give you yet another springboard location.
Movable Springboards Diagram
*All the numbered dots are “C” notes.*
Notice numbers 1 and 5. They are strings E and A. ANY note on those strings will have an octave available down 2 strings and UP 2 frets as denoted by numbers 2 and 6. So 2 goes with 1 and 6 goes with 5. Get it?
Now notice numbers 2 and 6. These are on strings D and G. ANY note on those strings will have an octave available down 2 strings and up 3 frets as denoted by numbers 3 and 7. So 3 goes with 2 and 7 goes with 6. See, now you are getting it!
Now check out numbers 3 and 5. I use this one a lot, too. Since these are both on E strings (high and low), they will always be mirror images.
You could also associate, for instance, 1 and 4 or 5 and 2, etc., but the others are more apparent. The more you know, the better a guitarist/musician you become.
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Diatonic Harmony
· The musical alphabet goes from A to G (there is no “H, I, J”, etc.)
· A half-step is the distance between 1 fret and the next on a guitar
· A whole step is equal to 2 half-steps or 2 frets distance
· A sharp (#) is when we raise a pitch by a half-step
· A flat (b) is when we lower a pitch by a half-st
ep
· Every note has a sharp, except for B and E
So, the musical alphabet reads like this A, A#, B, C, C#, D, D#, E, F, F#, G, G#...
… and all the notes on a 23 fret board look like this…
So, if W = whole step and H = half-step, then: Major Scale = W W H W W W H
Scale steps: 1 2 3 4 5 6 7 8 (or 1)
Distance between notes: W W H W W W H
Have you ever heard the vocal exercise, “Do-Re-Mi-Fa-So-La-Ti-Do”? Those are the musical steps for the major scale. Or the “Do Re Mi” song Julie Andrews sings in “The Sound of Music?” That song is based on the steps of the major scale. It is VERY important to learn the major scale if you want a good foundation for learning everything else on the guitar. It is the basis of music theory, the field of study that deals with the mechanics of music and how music works.
Guitar Mastery Simplified: How Anyone Can Quickly Become a Strumming, Chords, and Lead Guitar Ninja Page 4