Chord Scales

  Have you ever tried to solo over a chord and it just didn't sound right? I think we all have. Often times, it has to do with trying to fit a square peg into a round role type of situation. What I mean is that often the scales that we know and use are either the Major/Minor scale or some form of Pentatonic Scale. The problem is that while those are arguably the most important scales to learn, they don't always fit in every situation. Here is where the concept of Chord Scales comes in handy.

  If you've ever tried to jam over an F7 chord, you may have noticed that using the F major Scale doesn't exactly work 100%. And there's a good reason for this - one of the notes in the F major Scale doesn't fit the chord F7. More specifically, if we break down a F7 chord we get four notes: F - A - C - Eb. In comparison, a breakdown of the F major Scale reveals seven notes: F - G - A - Bb - C - D - E - F. Notice the discrepancy? The F7 chord has an Eb and the F major Scale has an E. Now we could just avoid playing Eb and E altogether, but there's another solution.

  If we simply adjust the F major Scale so that it has an Eb rather than an E, our problem will be solved. And by doing this, we are essential playing an F Mixolydian Scale. The F Mixolydian Scale which is really derived from the Bb Major Scale is spelled: F - G - A - Bb - C - D - Eb - F. So, it's a perfect candidate for our F7 jam.

  Below is a diagram of the F Mixolydian Scale. Make sure to play it on the first fret as it is a movable shape and can be transposed to all 12 keys. For further explanation of this topic, click here. Otherwise, make sure to go over it with an instructor if possible and definitely spend as much time as you can learning the unique sound of the scale. Remember, being able to hear music is just as important as learning scale patterns on the neck of the Guitar! Have fun!

Tune in next week for the next installment of Have Guitar Will Travel.

The Electric Guitar

  Lots of things are considered symbols of America. Apple Pie, Baseball, Muscle Cars, and Rock and Roll. And if you'll allow me to add one more to the list, I'd have to say the Electric Guitar. In fact, I'll go as far as to say that few things symbolize the freedom that we have here in the US more than what the Electric Guitar represents -the spirit of Rock and Roll. In the 1950's Rock and Roll was born and it was no coincidence that the first mass produced Electric Guitar came into this world in 1950. And much like many a budding Guitar Player since then, it was the Electric Guitar that first truly sparked my interest in Music. But like many of us interested in this wonderful symbol of our Rock and Roll heritage, first learning about Electric Guitars was a bit confusing to me. What are the difference between the various styles of these Guitars? What does each kind sound like? What's the best choice for the style of music I want to play? Here is the low down on the three most common and popular Electric Guitar body styles.

• The Fender Telecaster: In 1950 Leo Fender revolutionized the world with  the first mass produced, solid body Electric Guitar. Originally called the Broadcaster, it was renamed the Telecaster ( inspired by another new invention the "Tele" - vision ) due to patent issues. While it's known as one of the more spartan Electric Guitars due to it's simple, straight forward operation, it's nonetheless a tried and true design (a lipstick pickup,a single coil pickup, tone, and volume controls). What's really unique about the Telecaster however, is it's bright, cutting tone often heard in country music, for which it is commonly known. It is however, quite a versatile instrument and can be heard in styles such as rock, blues, and jazz. To hear some of the masters of the Telecaster, check out Danny Gatton, Roy Buchanon, and Mike Stern.

• The Fender Stratocaster:   Four years later, in 1954, Fender introduced the Stratocaster and yet again changed the landscape of American Music. The new, contoured design supposedly influenced by 1950's muscle cars,  introduced some new features such as 3 single coil pickups, 2 tone controls, volume, and a vibrato bar. These new features spawned a whole new palette of sound which in turn influenced all kinds of popular music for years to come. It is perhaps for this reason that the Stratocaster is a bit more versatile than it's predecessor, the Telecaster. To hear some of the finest music ever played on a "Strat" (as it is commonly known), check out Jimi Hendrix, Jeff Beck, Wayne Krantz, and Buddy Guy.

• The Gibson Les Paul:  In 1952, the Gibson Guitar Company issued forth it's Les Paul model guitar. Named after the famous Jazz / Pop guitar player of the same name, the Les Paul featured a marked departure from Fenders Telecaster and later Stratocaster guitars. In both sound and design, the Les Paul was different. Here was now a guitar more reminiscent of Gibson's earlier Jazz Guitar designs but with a solid body as well as 2 humbucking pickups, 2 tone controls, and 2 volume controls. The result is a darker, thicker sound with more sustain. And while it's suitable for any kind of music, it's often associated with hard rock, blues, and sometimes jazz. Prominent Les Paul players include Jimmy Page, Al Di Meola, Randy Rhoads, and of course, Les Paul.

Hopefully this all helps shed some light on at least the beginnings of what Electric Guitars are all about. And while there are many more derivatives of the three designs mentioned here, I think this represents a great deal of what's typically used by people who love and play the Electric Guitar. I have to admit this article only scratches the surface of this subject but now it's up to you to take it from here and do your own explorations. Go to your local Guitar shop and check them all out - see what speaks to you. Soon you'll be on your way to creating your own new sounds and sonic explorations. Now what could be more American than that?! To learn more about how to play Electric Guitar, click here.

Tune in next week for the next installment of Have Guitar Will Travel.

Is it more effective to play fast or with feeling?

In my experience, it is not a matter of concerning oneself with playing fast or slow, loud or soft, etc.... I never is, actually, if one takes the time to become music. As an artist one must be an intermediate between music and the public. Not an egotistically centered individual, as is favored by many.

When egotism is dominant during improvisation and interpretation, one becomes artistically ineffective as one relies on powerless and very limited ideology, or personality cravings for attention and admiration to make intellectual decisions that in fact, actually prevent access to inspiration and create contrived, unmusical, performances.

Personal concerns and intellectual polarization are obstacles to attain an inspired state where one has consciously become music itself, or realized that one is music itself. Such a state is beyond the personally focussed and intellectually focussed state of mind.

If One simply let's music itself come through , it will play itself as it must. In that way one becomes a true artist and servant of music, by virtue of letting inspiration take it's course.

All matters of tempo and dynamics become spontaneously manifest according to one's technical ability. If capable of great technical range of expression, music will manifest with great range in speed and dynamics, etc..; if not, music will manifest it's power in a technically simpler manner, but with immense melodic power nonetheless, as present in slower melodies and songs.

I hope this helps towards an understanding of what inspiration is and how to attain it more consistently. 

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