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| GUITAR LESSONS: INTERMEDIATE ROCK GUITAR | |||
| WorkshopLive's Intermediate Rock Guitar lessons are for the guitarist who has some background playing rock guitar, but would like to hone their skills, and add some variety to their bag of tricks. These rock guitar lessons cover topics such as diatonic harmony, combining Pentatonic scales, advanced bending and vibrato, strumming logic, moveable chords, playing guitar using patterns and sequences, hybrid picking, sweep picking, suspended chords, and more advanced scales and modes. Once you have mastered these rock lessons, you'll be able to take on some of the more advanced rock songs available, and you'll be on your way towards becoming a rock virtuoso. |
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| COURSE | LESSON | TEACHER | DESCRIPTION |
| Shaping Your Sound | Choosing the Right Strings and Pick | Glenn Riley & Jeff Peretz | Your guitar and amp aren't the only important ingredients in getting a great sound. The strings and pick that you use truly factor in to the way you play, and that's where great tone begins. We really don't think about this much, but, this stuff really plays a big role in our tone, the guitar staying in tune, volume, control of dynamics, the ability to play fast and over all right & left hand technique. It all boils down to personal preference! So, let's talk about some specifics in this lesson to help get you started and prepared with your instrument. |
| Building Diatonic Intervals and Triads | Constructing Diatonic Intervals and Tuning with Harmonics | Glenn Riley | Once you learn a scale and start playing it, you'll probably want to make it sound more interesting to your ear. Intervals get you out of just ascending and descending the notes in order. An interval is the distance from one note to another. Learning the intervals will get you ready for building a three-note chord known as a triad. This will also give you more ammo in the soloing department! Were going to go over the 2nd, 3rd, 6th and 7th interval in this lesson. We'll also check out one way of tuning-up using natural harmonics at the 5th and 7th frets. |
| Building Diatonic Intervals and Triads | Applying Diatonic Intervals and Tuning with Harmonics | Glenn Riley & Jeff Peretz | When I think about harmonizing the major scale, I think of two notes played simultaneously to create a double stop and the beginning of a triad. Im going to show you how to harmonize in 3rds & 6ths using the notes of the G Major scale. Were going to do this using the D, G & B strings, so its important that you know the notes on those three strings and have the notes of G major scale memorized. We are also going to learn another way of tuning with natural harmonics. |
| Building Diatonic Intervals and Triads | Introduction to Major Triads | Glenn Riley & Tim Quick | We're gonna take a look at Major Triads in this lesson! You might already know triads from playing basic open position chords, but this lesson will show you how they are built, how to play them and how to use them. We'll break them down on the three high strings of the guitar! Let's go! |
| Building Diatonic Intervals and Triads | Introduction to Minor Triads | Glenn Riley & Tim Quick | We're gonna take a look at minor triads in this lesson. You might already know triads from playing basic open position chords, but this lesson will show you how they are built, how to play them and how to use them. We'll break them down on the three high strings of the guitar. Let's go! |
| Introduction to the Major Scale and Modes | Introducing the Major Scale and Modes | Glenn Riley & Jeff Peretz | Welcome to the land of the Major Scale! I'm going to show you how to play this scale in not one, but two octaves, discuss why its important to know and how to make music with it! Pretty much everything is born out of and can be related back to the Major scale. Things like chords, the modes and those whacky & crazy scales you don't even know how to pronounce come out of the major scale. So, without further ado, lets get to it. |
| Introduction to the Major Scale and Modes | Creating Ionian Lick, Riffs and Runs | Glenn Riley & Jeff Peretz | In this lesson, we are going to take the Major scale and make some cool music with it. The scale is just a roadmap showing us what notes to play. So, Im going to show you how to take the notes and turn them into something you would really play and want to hear. I'll be showing you some cool riffs, melodic licks and some pretty flashy runs using the major scale. I know you're ready, and so am I. So lets rock! |
| Introduction to the Major Scale and Modes | Introduction to the Mixolydian Mode | Glenn Riley & Tim Quick | This lesson is all about the mixolydian scale. Mixolydian has a bluesy rock sound, but not like pentatonic scales. You'll get a chance to play the scale a few different ways, learn how it's built and how it's related to the major scale. I'll also talk a little bit about how to use it. All the examples in this lesson are in G Mixolydian. |
| Introduction to the Major Scale and Modes | Creating Mixolydian Licks, Riffs and Runs | Glenn Riley & Tim Quick | Alright! We're gonna make some real music with the Mixolydian scale in this lesson. There's some chord progressions and riffs to jam on, that'll give you some music to improvise the scale over. All the examples in this lesson will be in the key of G Mixolydian, but, make sure you play some of theses examples in other keys! Let's get going. |
| Introduction to the Major Scale and Modes | Using Ionian and Mixolydian Phrases in a Musical Context | Glenn Riley & Tim Quick | This lesson is going to be mostly about comparing of the Ionian and Mixolydian modes and how to make real music by using them. I'll take you through a few licks, and keep them really close to being the same, but one will be Ionian and one will be Mixolydian. |
| Introduction to the Major Scale and Modes | Major Triad Arpeggio Forms (2 and 3 String) | Glenn Riley & Tim Quick | In this lesson we'll take a look at Major Triad arpeggios, using 2 and 3 strings at a time. For most of this lesson we'll be using a D Major arpeggio. So make sure you play some of the examples from this lesson in different keys when you're ready. There are many songs to play in this lesson which will help you get the arpeggios in your playing, so you know how to make music with them. Let's get going! |
| Introduction to the Major Scale and Modes | Soloing with Modes | Glenn Riley & Tim Quick | Now it's time to make some real music soloing with the Ionian and Mixolydian modes. This lesson has three solos that we'll play through. One using Ionian, one using Mixolydian, and one solo that combines both Ionian and Mixolydian. There'll be some jam tracks that you can use to improvise over as well. If you haven't looked at my lessons on Ionian or Mixolydian scales, I highly suggest you do so. This lesson uses most of the information from those lessons. Alright, let's get down to business. |
| Developing Technical Skills | Bending | Glenn Riley & Jeff Peretz | One of the most common techniques used in electric rock guitar soloing is a technique called bending. Bending adds cool dynamics to the way you play and serves up some ear-grabbing emotion. You can really get your phrasing in shape by using this technique. I'm going to cover the basic concept and technique of bending the strings, demonstrate unison, harmonic and pre-bends, as well as the bend-and-release technique. |
| Developing Technical Skills | Legato I | Glenn Riley & Jeff Peretz | One of my personal favorite techniques is legato. The notes just flow, sounding smooth and connected. Your fretboard hand will be mostly in charge of making the notes sound, using hammer-ons, pull-offs and slides, with the minimal usage of your pick. Well go through a couple of exercises and some actual licks, so off we go! |
| Developing Technical Skills | Vibrato I | Glenn Riley | The vibrato technique is an awesome way to add a vocal-like dynamic to your soloing. It gets your guitar singing and crying. Basically, vibrato is playing a note and rocking it back and forth slightly, kind of like bending, but not changing the pitch like you would in a bend. In this lesson we'll check out how and when to use vibrato! |
| Developing Technical Skills | Strumming Logic I | Glenn Riley & Tim Quick | Welcome to Strumming Logic I. I'll give you my spin on how to strum with downstrokes and upstrokes with no fuss and no muss. Most of the examples in this lesson use a technique called scratching or chucking, and there's a many strumming song for you to play in the last exercise. We'll start with quarter and eighth notes and work our way up to sixteenths. If you never knew how or which way to strum the strings, this lesson will really help you out. Let's get strumming. |
| Developing Technical Skills | Triplets | Glenn Riley & Tim Quick | Welcome to the land of Tri-p-lets. If you're into bluesy classic rock, this lesson will be right up your alley. In this lesson we'll cover the triplet rhythm using some easy single note scale examples, some power chord playing, and some licks that you can use to solo or improvise with. You may want to check out my strumming logic and swing eighths lesson also, as they might help you out with this lesson. Alright, let's get going. |
| Developing Technical Skills | Swing Eighths | Glenn Riley & Tim Quick | As the saying goes..."It don't mean a thang if it ain't got that swang." If you want to jazz up your rhythm playing, you've come to the right place. We'll be taking a look at how to swing eighth note rhythms through a couple of bluesy rock riffs and some single note soloing. If you like classic rock guitar playing, this will be right up your alley. Here we go. |
| Developing Technical Skills | Fingerstyle II | Glenn Riley & Tim Quick | Welcome to Fingerstyle. This technique will definitely add some class and some drama to your playing. I'll take you through a couple right hand fingering patterns and some different approaches to using this technique. Once you get this way of playing down, you will instantly be able to capture the listener's ear. |
| Developing Technical Skills | Pattern Playing I | Glenn Riley & Jeff Peretz | A cool technique that will help you not sound like you're reciting a scale is pattern-playing or sequencing, as I like to call it. Pattern-playing is great for coming up with new licks and gives you so many options of playing a scale pattern without running out of notes. Think of this as number sequencing, such as 1-2-3, 2-3-4, 3-4-5, and so on, except you're doing this with the notes on your guitar. In this lesson, I'm going to show you how to do this awesome technique using a famous pentatonic scale in A Minor...so, let's go for it! |
| Developing Technical Skills | Tremolo, Tapping with One Finger, and Pinch Harmonics | Glenn Riley & Tim Quick | Thanks for visiting the tremolo, tapping with one finger, and pinch harmonics lesson! These are all very cool things to use when yo're soloing or improvising. I'll take you through a couple examples of each technique, so you can start getting them into your playing right away. Let's shred! |
| Developing Technical Skills | Sweep Picking I | Glenn Riley & Tim Quick | Welcome to Sweep Picking. If you're unfamiliar with this technique, I bet you've heard of it. Sweep picking allows you to play pretty fast with the least amount of work. This lesson will get you started using this technique through a couple of arpeggio shapes that you can use immediately to make real sounding music. We'll take a look at how to do it, and how to use it. So, let's get to it. |
| Introduction to Minor Scales and Modes | The Aeolian or Natural Minor Scale | Glenn Riley & Jeff Peretz | If you want to sound mysterious, dreary and sad, then the natural minor scale will be right up your alley. This scale is used in tons of hard rock tunes or depressing ballads because of its emotionally dark sound and flavor. The natural minor is called by its modal name Aeolian. So, let's get your listeners rockin & weepin' away with the natural minor scale. |
| Introduction to Minor Scales and Modes | Creating Aeolian Phrases | Glenn Riley & Jeff Peretz | In this segment, I'm going to show you some cool riffs, licks and runs, using the notes of the Aeolian scale. If you listen to a lot of hard rock music like I do, your ear will be pretty comfortable with the sound of these examples. Using this scale to make music with is a 'must' for hard rock and heavy metal guitar playing, so, turn up the volume on your amp and lets rock! |
| Introduction to Minor Scales and Modes | Introduction to the Dorian Mode: 6th-String Root | Glenn Riley & Tim Quick | If you need to add a little spice to your scale vocabulary, then you're in the right place. This lesson is all about the dorian scale. We'll play the scale rooted off the 6th string, learn how it's built, and when and where to use it. The dorian scale will definiely jazz up your scale knowledge and add some cool flavor to your improv. Let's hit it. |
| Introduction to Minor Scales and Modes | Creating Dorian Licks, Riffs and Runs | Glenn Riley & Tim Quick | Know your Dorian scale? Need to make it sound less like a scale, and more like real music? Well you've clicked on the right button my friend. Some user-friendly licks, riffs and runs is what you're going to get in this lesson, all based off of the Dorian scale and sound. We'll stay in the key of A Dorian for all of the examples in this lesson. So let's get to it! |
| Introduction to Minor Scales and Modes | Using Aeolian and Dorian Phrases | Glenn Riley & Tim Quick | We're going to make some real music with the Dorian and Aeolian scales in this lesson. I'll cover some licks that you can play, and show you when and where to use them. We'll play two licks, both very similar but one will be using Aeolian and one will be Dorian. I'll explain the chord progressions to use for each mode, and then there is a mini solo that combines both modes. Let's hop to it. |
| Introduction to Minor Scales and Modes | Minor Triad Arpeggio Forms | Glenn Riley & Tim Quick | Minor triad arpeggio forms on two and three strings is what you're going to get in this lesson. I'll take you through shapes on all string sets using the notes in an E Minor Triad. Triad arpeggios are an awesome way of getting out of just using scales to solo with and also it helps to expand your chord-tone knowledge. What are we waiting for, let's get going. |
| Introduction to Minor Scales and Modes | Soloing with Minor Modes | Glenn Riley & Tim Quick | If you're ready to solo using some Aeolian and Dorian scales, you're in the right place. There are three solos in this lesson. One will be in A Aeolian, one is in A Dorian and one that combines both modes within the same solo. If you got your Aeolian and Dorian scales down, this lesson will really help you put it all together. |
| Expanding Rhythm Guitar Technique | Guitaristic Chords | Glenn Riley & Jeff Peretz | So, you've got your open position cowboy chords down, your power chords are totally on fire and those barre chords are ready to rock. Then its time to add a fancy jazz chord to your vocabulary known as the dominant 7th sharp-9 chord. 'A jazz chord?', you ask.....well let me say two words to ya.....JIMI HENDRIX! This chord will add some funkiness to your rhythm playing, keep all your other chords sounding fresh and will really help you create your own style. |
| Expanding Rhythm Guitar Technique | Hendrix Fills I | Glenn Riley & Jeff Peretz | Whether you're playing rhythm or soloing, a great way to add some beauty and a touch of class is with embellishment fills. This was a huge part of Jimi Hendrix's guitar style. Think of an embellishment to be a decoration of the notes or the chords you're already playing. You're simply spicing up the meat and potatoes. The following examples are going to be in the key of D. So let's dig in. |
| Movable Chords Continued | E and A Strings | Glenn Riley & Tim Quick | Welcome to the land of movable chords. Movable chords are very important to know. They will allow you to play music in any key that you need to or want to play in, make figuring out songs much easier, and help you compose or write your own songs. Learning major, minor, and dominant 7 chords rooted off the 6th and 5th strings will be our mission. |
| Movable Chords Continued | Movable Chords on E and A Strings III | Glenn Riley & Tim Quick | Movable chords III picks up where II left off. You will learn how to play a Major 7, a minor 7, and a minor7 flat-5 chord in this lesson. These chords are great to add to your vocabulary and will help you get to the next level. These chords will also help your theory knowledge and help you compose music that has new and different flavors. So let's get going. |
| Movable Chords Continued | Cool Progressions Using Movable 7th Chords | Glenn Riley & Tim Quick | This lesson takes the major 7th, the minor 7th, and the dominant 7th chords that you've learned and puts them to use with some cool chord progressions. Playing progressions really helps you hear the chords in context; you know like real sounding music. So grab your guitar and let's play some cool progressions. |
| Expanding Major Scales and Modes to Other Fingerings | The Ionian Scale and the Mixolydian Mode | Joel Gregoire & Jared Meeker | Hello and welcome to "Comparing the Major Scale to the Mixolydian Mode." We are going to discuss the interval structure of both of these scales and understand what makes these two major-sounding scales different. There are many songs that have been written in many different styles using both the Major Scale and the Mixolydian Mode. In rock music, you can hear these sounds almost anywhere. From 70s progressive rock and album rock, to the 80s glam and hard rock to the 90s grunge movement and on into the new millennium. Some of the greatest guitarists that ever played have used these scales to help them gain their identity. Hopefully through these next exercises, you'll gain a better understanding of how to use them. |
| Expanding Major Scales and Modes to Other Fingerings | Expanded Fingerings of the Ionian Scale and the Mixolydian Mode | Joel Gregoire & Jared Meeker | Hello and welcome to our lesson called "Expanded Fingerings for the Major Scale and the Mixolydian Mode." In these next few exercises, we will learn how to get out of the traditional CAGED system (or what others might call 'regular box forms') of these scales. You will also be playing these scales past the first octave, past the second octave and just a small portion of the third octave. You will notice a more fluid motion, for both your right and left hand, when practicing and applying these scales. This will also ultimately help you get more speed out of your playing, simply because of the way they are formatted. So, let's get started... |
| Expanding Major Scales and Modes to Other Fingerings | Using the Ionian Scale and Mixolydian in a Musical Context | Joel Gregoire & Jared Meeker | Welcome to our next lesson, "Using the Major Scale and Mixolydian Mode in Musical Context." These exercises will show us how the two major-sounding scale/modes sound over some chord changes. There are so many hit songs that have been written using these scales/modes. You will be able to hear the slight differences as you work your way through the lesson. Training your ear to identify multiple major and minor sounding scales is crucial throughout your learning endeavors. Be sure to take your time and review this lesson as often as you like, there are some great technique building exercises involved here, so have a lot of fun! |
| Expanding Major Scales and Modes to Other Fingerings | Improvising in Major and Mixolydian | Joel Gregoire & Jared Meeker | Welcome to this lesson, "Improvising and using the Major scale in the Mixolydian mode". Improvising is what motivates us to become better musicians. Its so exciting to be able to create plush melodies, blazing fast scale runs, crying bends and whatever else may come right off the top of our heads. Listening to such great players like David Gilmour of Pink Floyd, or Randy Rhodes and Joe Satriani, when they play live, you expect to hear their solos note for note on pretty much every song, and so very often they do. But when you hear them stray from what they had initially written, its amazing because they made it happen in a a moment's notice. That is what improvising is all about. You can draw on your own personal influences to act as a guide throughout your improvising, just pay attention to how they bend, how they phrase and so on. |
| Expanding Major Scales and Modes to Other Fingerings | Major Triad Arpeggio Form | Joel Gregoire & Jared Meeker | Hello, and welcome to this unit on expanding major triads and/or arpeggios to two octaves. In rock, they have been used by such greats as Eddie Van Halen, Alex Lifeson of Rush, Yngwie Malmsteen and many more. They are wider intervals than conventional scales, so they are a little harder to master on the fretboard than most scales. Once you've played and heard them, I am sure that you will notice how melodic they can be in musical passages and especially how fun they are to play. Just remember to take your time in learning about them so you fully understand what they are and how to use them. |
| Expanding Technical Skills V | Bending with Vibrato | Joel Gregoire & Jared Meeker | Hi and welcome to our lesson "Bending with Vibrato." In this series of exercises, we will learn how to bend half-step and whole-step intervals, and when we reach the desired pitch we will be adding vibrato. This is a very common technique on the guitar and there are many players who use this. It is also a great tool to help you get your own identity as a guitar player. When you hear Angus Young or Steve Vai, you can tell its them just by the way that they are able to perform this technique. Many singers are emulated by great guitarists for the sole purpose of their amazing vibrato. It isn't as easy as it looks and it will take some practice. But stay the course and in no time you'll have it down just fine and will be able to put your own personal stamp on it. |
| Expanding Technical Skills V | Legato II | Joel Gregoire & Jared Meeker | Hello and welcome once again. In this lesson we are going to be discussing how to use legato on the guitar. Legato is a technique used for the guitar to execute fast scale runs smoothly, giving it a certain slurry sound, as a lot of players like to call it. It is also a great way to connect multiple patterns on the neck with little or no help from the right hand. Legato is mostly hammer-ons and pull-offs and you pick as little as possible. This will also help you develop a stronger left hand for added confidence when soloing on your guitar. Each exercise is designed to help you acquire the necessary techniques involved with legato. |
| Expanding Technical Skills V | Vibrato II | Joel Gregoire & Jared Meeker | The topic we are going to discuss in this lesson is vibrato. As I like to say, pretty much every singer has one and so should you!! It really enhances your playing, especially in your melodic phrasing. You should be able to vibrato with every usable finger of your left hand and occasionally use your right hand on the tremolo bar (if your guitar has one) to execute a good vibrato. So let's get going to add this skill to your already awesome playing ability. |
| Expanding Technical Skills V | Strumming Logic II | Joel Gregoire & Jared Meeker | Hi and welcome to our next lesson, Strumming Logic. In this lesson we will discuss the different ways to approach rock rhythms with both the right and the left hands. The right hand will learn how to open and mute the strings as it strums while the left hand will learn how to press and unpress a chord. We will be exploring more types of strumming and articulating our right hand more so than previously. We will also venture out of 4/4 time into other time signatures like 7/8 time. We will be using open and muted sounds with different variations to show you how different each of these sound. Then we will do the same thing in the new time signature. |
| Expanding Technical Skills V | Fingerstyle III | Joel Gregoire & Jared Meeker | Hello and welcome to this lesson on fingerstyle... In this lesson, we are going to discuss and play different variations of fingerstyle for the guitar. We are even going to play examples in different time signatures. This allows you to hear the difference in the way that the music flows when playing these time signatures. Many great artists have used this in all forms of Rock. If you listen to Folk Rock a lot and that is your main influence, then great. Just give yourself a chance and listen to classical fingerstyle passages or maybe something with a bluegrass influence. If you are into more of the neo-classical influence of fingerstyle by such artists like Yngwie Malmsteen or Urlich Roth, then you owe it to yourself to listen to James Taylor in the Folk rock realm or maybe even Lindsey Buckingham of Fleetwood Mac. But let's focus on you and get your fingerstyle rocking... |
| Expanding Technical Skills V | Pattern Playing II | Joel Gregoire & Jared Meeker | Hello again and welcome to our next lesson Pattern Playing II. In this lesson we are going to discuss different ways to play a scale. This will certainly help you get your chops to the next level. We are going to be discussing patterns of sequences of scales from a numeric point of view. Also we will discover new patterns on our fretboard that are scale extensions. Combined, these ideas make for a great arsenal when you are soloing. You might be improvising some time and at a moments notice you might decide to throw in a pattern of notes. This will help you understand how to play and solo over different time signatures such as 6/8 time or 10/8 time. Let's get started! |
| Expanding Technical Skills V | Phrase Construction II | Joel Gregoire & Jared Meeker | Hi and welcome to Phrase Construction. This is an essential part of soloing, for this is the topic you should think of the most when you are trying to create a memorable solo. Let's take a trip back in time and think of some of the greatest phrases on the guitar ever: Eric Clapton in his intro phrase on Layla, Jimmy Page and his solo work on Stairway to Heaven, Brian May of Queen when he did Bohemian Rhapsody, and Tom Schultz of Boston and his solo work on More Than a Feeling. These were all memorable solos that we can whistle as we walk down the street. It just takes a little more time and patience to do this. And with these exercises in this lesson, maybe it will help you in carving that unforgettable melody phrase. |
| Expanding Technical Skills V | Advanced One-Finger Tapping | Joel Gregoire & Jared Meeker | Alright, let's check out some Advanced Finger Tapping. In this lesson, we will further our knowledge of tapping by applying it across multiple strings. This is where knowledge of arpeggios is important and that your skill in tapping is adequate. We will be playing these exercises very slowly so that you understand what role your left hand plays and what role your right hand plays. Memorizing shapes is also important for both hands. Even though they are working together, they are also performing independent tasks which will make you use both sides of your brain. Now you are being introduced to techniques that guitar gods use and hopefully you'll get a lot of insight as to how you can approach these ideas. |
| Expanding Technical Skills V | Sweep Picking II | Joel Gregoire & Jared Meeker | Hello and welcome to Sweep Picking. The bar is raised and the stakes are high, so now is the time to take these arpeggios by the neck and shred 'em. In these exercises, we will take our sweep picking to the next level. We will discuss melodic fragments and expanded fingerings for sweeping arpeggios. This technique has modernized the rock era since its introduction in the 80s. All of the elite shredders can use this technique to display incredible passages for the ears and unbelievable finger movements for the eyes to see. Sweeping isn't easy though, so you should review any previous lessons on this subject before you get started here. Remember that you can run this lesson as many times as needed to really get it down, and I recommend that you do so. |
| Expanding Minor Scales and Modes to Other Fingerings | Aeolian Mode Expanded Fingerings | Joel Gregoire & Jared Meeker | In this lesson, we'll discuss the Aeolian mode, what it is, where it came from and examples on how to use it. Many bands and artists have had numerous hits using this sound. You can even start to tell which groups tend to write more in the major scale and what groups tend to write more in the minor scale. There are even a lot of artists and bands who utilize both within the same song. In these exercises you will learn how to play these scales with expanded fingerings as well as covering a lot of ground on your fretboard. Take your time and feel free to revisit this lesson as often as you like to help you get a better understanding of it. |
| Expanding Minor Scales and Modes to Other Fingerings | Dorian Mode with Expanded Fingerings Plus Licks | Ken Steiger & Dave Martone | During this lesson, I will show you how to create a three-octave G Dorian scale out of your guitar. The Dorian mode is the 2nd mode of the major scale offering a unique twist on the traditional minor scale. We will work with fragments and exercises from this three-octave shape, and apply it to some sequences, licks and solos. |
| Expanding Minor Scales and Modes to Other Fingerings | Comparing Aeolian and Dorian | Ken Steiger & Dave Martone | In this lesson, I will compare the G Aeolian or Natural Minor scale, to the G Dorian scale. It is really important to understand the difference between these two modes, this way you will know when it is appropriate to us one or the other when soloing or songwriting. Plus many songs over the years use both modes. Remember that Dorian is the second mode of the major scale and Aeolian is the sixth mode of the major scale. By comparing the two modes we will learn to hear the subtle differences between the two scales. |
| Expanding Minor Scales and Modes to Other Fingerings | Using Aeolian and Dorian in a Musical Context | Ken Steiger & Dave Martone | We have been comparing the differences between Aeolian and Dorian modes (two of the modes from the major scale) in some of our previous lessons. In this lesson, we're going to be using both modes in a musical context. We will be learning some new licks and playing over two progressions, that will exploit each of the mode's unique sounds. Be sure to study both modes thoroughly and understand the theory behind each of the modes. Let's begin... |
| Expanding Minor Scales and Modes to Other Fingerings | Natural Minor Triad Arpeggio Forms (Two-Octave) | Ken Steiger & Dave Martone | Hopefully you have been working on your one-octave arpeggio shapes, because in this lesson we are going to expand those out to two octaves, giving you a better overall view of the fretboard. These shapes should be mastered and moved all around the guitar. In this lesson, we will learn to outline basic chord progressions. This will be your first step in the real mastery of your instrument. Take it slow and steady, and the speed will come. This lesson is also a perfect time to show some sweep-picking techniques. See you inside. |
| Expanding Rhythm Guitar Technique | Guitaristic Chords II | Ken Steiger & Dave Martone | By now, you've realized that the guitar is a very unique instrument, for it allows you many options for performance... from rhythm to lead to percussive to melodic... the list goes on and on, but it also offers some fantastic voicings for chords. Chords and rhythm are the backbone of the guitar. In this lesson, we will be discussing some unique and magical voicings on the guitar. Hopefully, you will explore these chords further, and work these shapes into your own compositions. |
| Expanding Rhythm Guitar Technique | Hendrix Fills II | Ken Steiger & Dave Martone | Ahh... Jimi Hendrix. Just the name conjours up images of a Guitar God manipulating the instrument in a way that spoke to the masses here on planet earth. Hendrix's large hands, R&B background, and psychadelic exploration lent to his hard-to-imitate playing style. A very improvisational player, he would create fills that outlined, and enhanced the overall chord progression. He often experimented with fills and rhythmic timing as well. In this lesson, we will break down a few of Hendrix's licks into something we can actually practice, and we'll apply that to our own playing. |
| Expanding Rhythm Guitar Technique | Intro to Diminished 7th Chords/Connecting Chords Using Diminished Chords | Ken Steiger & Dave Martone | Ahh... The fantastic and wonderful diminished 7th chord. What a powerful chord, used in all styles and only appearing in the harmonic minor scale, but used with all keys, scales and modes. The diminished 7th chord is quite unique, allowing you to tie chords together seamlessly or switch keys on a dime. In the upcoming lesson, we will explore the sounds, and voicings of the ever-elusive dim7th chord. A complicated chord but, very useful. Let's get started. |
| Expanding Arpeggios I | Triadic Arpeggios Through Key (Extend to Two Octave) | Glenn Riley & Jeff Peretz | An arpeggio is the notes of a chord played separately, similarly to the way you would play a scale. In this lesson, we are going to check out arpeggios that fall in the key of C Major and we're going to build a three-note arpeggio off of each note of a major scale pattern using only the notes of that major scale. Arpeggios are one of those things that everyone seems to avoid from time-to-time, but don't be afraid of them. Once you get this down, you'll have another weapon in your arsenal or rock! |
| Expanding Arpeggios I | 7th Chord Arpeggios (Major and Dominant) | Glenn Riley & Jeff Peretz | The 7th arpeggio is basically the triad arpeggio with another note tacked on. The term 7th means that you are including the 7th note of the scale. So, now you have a four note arpeggio; the Root, the 3rd, the 5th and the 7th! In this lesson, I'm going to show you the major 7th & dominant 7th arpeggio. Lets go! |
| Expanding Arpeggios I | 7th Chord Arpeggios (Two Octave) | Glenn Riley & Jeff Peretz | Let's now size up the minor 7th and Half-diminished arpeggios. These are four note arpeggios, like the major and dominant 7th arpeggios, with some alterations which give them a darker and slightly frightening sound. Were going to check out how to play them and how to make some music with them. |
| Working with Intervals and Triads | Creating Vamps Using 3rds Over Pedal Notes | Ken Steiger & Dave Martone | In this lesson, I will be showing you how to find and use 3rds around the fretboard. We'll be creating vamps using 3rds over pedal tones on different string groupings - a very powerful tool. 3rds will provide a new tonal landscape for your playing. This is the kind of knowledge that will separate you from other players. Studying and working with 3rds and other intervals will also get you that much closer to mastery of your instrument. |
| Working with Intervals and Triads | Movable 6ths Patterns | Ken Steiger & Dave Martone | In this lesson, we will be working with movable 6th patterns. 6ths show up in all playing styles: country, rock, blues and jazz. They will again help to expand your fretboard and scalar knowledge. We are going to find out that 6ths are just inverted thirds and are a great way to add color to your playing. |
| Working with Intervals and Triads | Harmonizing the Major Scale with Diatonic Triads | Ken Steiger & Dave Martone | Hey, I hope all has been going well with the practicing and the studies. It's a lot of work but it will pay off. In this installment, we'll be tapping into some deep theory, and harmonizing the major scale with diatonic triads and seventh chords. This will be your next step in the mastery of the guitar. This is where all your harmony and theory will start to come together. Remember that music is an outlet for the soul, remember that and trust it... Let's rock... |
| Advanced Fingerings of Major Scales and Modes | Ionian and Dorian Modes | Dave Martone | We are now at a point where we have to connect the scale worlds on our guitar. This will be a four-part lesson, so be prepared to work your tail off! There will be seven scales (or modes) that we will be learning. Some will sound major and some will sound minor, depending how they are used. We'll look at all scales as extensions of the major scale. Each section of this lesson will focus on two of the new scales. In the last part, we will try to put it all together to make you into one heck-of-a monster player. I bet you like the sound of that! You ready? |
| Advanced Fingerings of Major Scales and Modes | Advanced Fingerings of Scales and Modes I | Ken Steiger | All right, let's check out advanced fingerings of scales and modes, I will be showing you how to beat that 'stuck-in-one-position-and-I-can't-get-out rut.' This lesson will challenge your knowledge, and technique unlocking the fretboard like never before. Today we will be expanding the G Major scale out, using a 3-note, to 4-note-per-string shape. These shapes are quite large, but will allow you to play at blazing speeds. So, get stretched out, and warmed up and let's get started. |
| Advanced Fingerings of Major Scales and Modes | Phrygian and Lydian Modes | Dave Martone | In this lesson, we will explore past the worlds of Ionian and Dorian. We will be meeting Phrygian and Lydian. These are the third and fourth modes and are cool scales, which have some great fingerings. (Please remember, all of these modes will be just used as extensions of the major scale!) Our world will be almost half-way there after we complete this lesson. All of these examples will be in the Key of G, again, to keep the world from spinning out of control! Let's do it! |
| Advanced Fingerings of Major Scales and Modes | Advanced Dorian Fingerings | Ken Steiger | This lesson will show you a true four-note-per-string shape on the guitar, in A Dorian. Remember that A Dorian is the second mode of G Major and that it also functions exactly like the E Minor scale, but starting on the A note . This shape will allow you to play faster that you ever have before with some pretty big stretches. It will also help you map out one of the easiest four-note string-shapes found on the guitar neck in A Dorian. Let's get started... |
| Advanced Fingerings of Major Scales and Modes | Mixolydian and Aeolian Modes | Dave Martone | We're getting close... This lesson will go past Ionian, Dorian, Phrygian and Lydian, into the worlds of Mixolydian and Aeolian. These are the fifth and sixth modes that we will need to connect our worlds on the fretboard. You should be feeling quite excited since our task is almost complete. This entire lesson is one of the most important things you will learn on the guitar, so make sure you don't wimp out on getting them down 100%. Please remember that all of these fingerings at this point are just extensions of the major scale! Shall we begin? |
| Advanced Fingerings of Major Scales and Modes | Five-Note-Per-String Phrygian | Ken Steiger | In this installment of advanced fingerings for the modes, I will be showing how to see and take on a five-note-per-string shape on the guitar. Pretty big stuff, but we will cheat a little, since we only have four fingers to work with. Using a little sliding and shifting around, we can take full advantage of this monster shape on the guitar. Now, we'll be working with B Phrygian. Remember... that's the third mode of G Major. Now it's getting a little bit crazy! |
| Advanced Fingerings of Major Scales and Modes | Locrian Mode | Dave Martone | Congratulations! We are almost there. In this lesson, we will learn about the seventh mode of seven, called Locrian. This is the last mode that will make our guitar become a complete place of utmost worship! Remember, for the last time, that all of these modes are extensions of the major scale in this lesson. We will also be doing some intense exercises of connecting all of the modes that you have learned so far. This is the most important lesson that you'll have for your playing to become killer! So let's start... |
| Advanced Fingerings of Major Scales and Modes | Using Trills inside of C Lydian | Ken Steiger | This lesson will help get you soloing and move you away from those huge shapes for a bit. We are going to use the shapes like been using, but we will trill our way up our 1st, 2nd and 3rd fingers this time. We've been working with some pretty advanced shapes, which can be hard to make music with, the big stretches and all. The next exercises will have you soloing in no time, and without all those big stretches! |
| Advanced Fingerings of Major Scales and Modes | Three-Note-Per-String G Major Pentatonic | Ken Steiger & Dave Martone | In this lesson, I will be showing you how to connect together existing pentatonic shapes for a three-note-per-string shape. This will allow us to get some super speed out of the pentatonic scales, as opposed to the traditional patterns that we all know and love. We will be applying this to a G Major pentatonic scale but remember that it has the same exact notes as E Minor pentatonic. This is guaranteed to help your soloing, but you have to practice. It's going to be quite a stretch, so get your fingers warmed up and let's get going and I'll see you guys on the inside. |
| Advanced Fingerings of Major Scales and Modes | Combining Major and Minor Pentatonic II | Jared Meeker | Welcome to combining major and minor pentatonics. In this lesson we'll explore how the major and minor shapes can be transitioned between and combined in a bunch of radical ways. We'll first combine the shapes and look at the potential for playing three-note-per-string pentatonics. We'll also look at how both shapes can be played in parallel to make the composite scale. This is a common scale choice for die-hard blues rockers. |
| Expanding Technical Skills IX | Bending with Vibrato II | Ken Steiger & Jared Meeker | Ah, bending with vibrato. One of the most notorious techniques on the guitar because it says so much about you as a guitarist: years you have been playing, maturity, strength. The sheer will to bend a string two and a half steps should be high on your priority as a player. Bending and vibrato will be part of your unique voice on the guitar and without it, you may as well remain silent. |
| Expanding Technical Skills IX | Legato III | Ken Steiger & Jared Meeker | Legato playing is a real unique style and technique which many players attempt to emulate and master from the likes of Allan Holdsworth, Joe Satriani, Steve Vai to Eddie Van Halen. Many of the best Rock players utilize this technique quite often in their playing. Unfortunately, the Legato technique takes a while to master. It's a matter of hand strength and a light touch on the guitar fretboard, with much persistence. In this lesson we will cover some legato exercises that should get you up to speed building strength and dexterity in your left hand. So let's dig up some exercises so we can get started. |
| Expanding Technical Skills IX | Vibrato III | Ken Steiger & Jared Meeker | Developing a good vibrato should be on your top five list of techniques to study and master. It could take many years to master, but you will be rewarded with a more soulful vocal-like quality to your guitar playing. The best guitarists in the world have developed their vibrato technique because of years of playing. Players from BB King to Steve Vai have that something special when it comes to vibrato, a technique well worth exploring. Let's get started. |
| Expanding Technical Skills IX | Strumming Logic III | Ken Steiger & Jared Meeker | In the following lesson, we'll be exploring funk and the sixteenth-note rhythms that accompany it. Now these exercises, when mastered, will help your sense of inner timing immensely and your overall feel of groove and add some soul to your playing. Don't blow it off. These rhythms are used extensively in many styles including rock and metal. So study up on the sixteenth note, get your foot tapping, and let's get inside for the lesson. |
| Expanding Technical Skills IX | Guitaristic Chords III | Ken Steiger & Jared Meeker | Welcome back to guitaristic chords. This will be the third installment of the series. In this series we will be manipulating basic chords you may already know, to cover many of the qualities that you may encounter. Plus we will be tackling modal chords. These are chords that call out for specific modes. Remember chords and rhythms are the backbone of the guitar. So come on in, learn some new chords, and alter some of the old ones you may already know. |
| Expanding Technical Skills IX | Latin Rhythms | Ken Steiger & Jared Meeker | Samba, Bossa Nova, Bolero, Cha Cha, Mambo. These are some of the many popular forms of Latin Music. Some have been around for centuries. Many of these forms were popularized in South America, the most predominate being Bossa Nova. We can learn a lot from these forms of music along with rhythm and timing. You'll learn an alternate sense of groove as opposed to jazz, blues, rock, or metal. Latin grooves have a certain rhythmic flavor that is both enticing and addictive. We'll be studying the basics of Latin rhythm, in particular Bossa Nova and Bolero type rhythms; the most common Latin styles. |
| Expanding Technical Skills IX | Fingerstyle IV | Ken Steiger & Jared Meeker | Fingerstyle or fingerpicking is a technique used for playing the guitar with the fingers rather than using a pick. It's different than hybrid picking which uses the pick and the fingers together. In this lesson we will concentrate more on a classical fingerstyle, as opposed to American fingerstyle technique made popular by the likes of Merle Travis, Chet Atkins, Leo Kottke and countless others. In this lesson we will apply some classical fingerstyle techniques using arpeggio and pedal-tone shapes. |
| Expanding Technical Skills IX | Pattern Playing III | Ken Steiger & Jared Meeker | Pattern playing is the technique of using scale shapes and patterns to come up with your own sequences and melodic riffs or ideas. This will be the very meat and potatoes of your guitar playing, allowing you to borrow from different licks, different exercises and sequences you've been working on and practicing with. Practicing pattern playing will be the very thing that will allow you to come up with melodic lines and sequences for your solos on the fly. So get ready, we've got a lot of hard work ahead. |
| Expanding Technical Skills IX | Phrase Construction III | Ken Steiger & Jared Meeker | Phrase construction to me, is the art of outlining a progression, and offering a unique musical motif and/or theme to enhance the overall sound of the song. Phrasing is taught in many different ways, and in many different styles, so listen to what other players have to say about it. Learning to phrase is an art, and a talent just like anything else you'll do so you need to practice and hone your phrasing skills using different keys, styles and tempos. |
| Expanding Technical Skills IX | Advanced Tapping (Two-Finger) | Jared Meeker | Finger Tappers unite. I want to show you some intervallic licks that you can create with tapping that would otherwise be awkward and slow. Now that we have stepped into two-finger tapping, a whole world has opened up with combining, pentatonics, scales, and arpeggios. Get comfortable because these licks may demand that you sit in deep concentration for hours on end. |
| Expanding Technical Skills IX | Hybrid Picking I | Ken Steiger & Jared Meeker | Hybrid picking is anything that combines the pick and the fingers. Although I mainly use alternate picking, sometimes hybrid picking is not only called for but required to pull off certain licks. Plus, over the years there are so many variations and possible fingerings that use hybrid picking, it's hard to tackle all the possibilities. So, isolate small exercises and build on that. The following lessons will get you started in the world of hybrid picking. The master guitarists from Jimmy Page, Eric Johnson, Albert Lee, and Carl Verheyen all deployed this technique to its fullest potential. |
| Expanding Technical Skills IX | Beginning/Middle/End | Ken Steiger & Jared Meeker | In this lesson we'll go over the thought process from beginning to end for creating an interesting guitar solo using the tools we have thus far. Thinking through your solo and planning it out can make all the difference in the world when it comes to a great solo. So let's put our arsenal together to create a memorable solo from beginning to end. |
| Expanding Technical Skills IX | Sweep Picking III | Ken Steiger & Jared Meeker | The fine art of sweep picking is a very sought after technique. The style has begun to get more popular again over the last few years. Popularized in the late 80s with Malmsteen, Paul Gilbert, Steve Vai and countless others. It is a style or technique that may take time to master but the benefits make it worth your time. So now that you the basic mechanics of sweep picking, we need to start tackling some bigger shapes, ones that you will use forever. |
| Minor Pentatonic, Blues Scales and Minor Modes | Minor Pentatonic Lesson I, Connecting Boxes | Glenn Riley & Jeff Peretz | There must have been a time when you were watching a guitarist playing a cool solo, and their hands were flyin' all over the fretboard...and you said to yourself, 'Man....I wish I could do that'! Well, your wish is my command. This lesson is going to get you started connecting shapes or 'boxes' using the minor pentatonic scale, so you too can fly all over the fretboard. What are we waitin for?........let's get started! |
| Minor Pentatonic, Blues Scales and Minor Modes | Minor Pentatonic Lesson 2, Connecting Boxes | Glenn Riley & Jeff Peretz | In this lesson, we are going to turn up the heat a little bit from where 'Connecting Boxes 1' left off. So if you haven't already, check out that lesson. We are going to continue connecting the minor pentatonic boxes up the neck, so you have complete access over the fretboard. We'll start at the 7th position and work our way up to the 14th position. Lets go! |
| Minor Pentatonic, Blues Scales and Minor Modes | Blues Scales Lesson 1, Connecting Boxes | Glenn Riley & Dave Martone | Connecting boxes with the Blues scale is what we're going to be checking out in this lesson. Connecting is great, because it allows you to play freely anywhere on the fretboard that you want without hitting the clunker notes. You're really hitting the same notes that you're supposed to be hitting, just in different locations. We are going to use the E Blues scale, so let's get connected! |
| Minor Pentatonic, Blues Scales and Minor Modes | Blues Scales Lesson 2, Connecting Boxes | Glenn Riley & Dave Martone | Welcome to 'Connecting Blues-Scale Boxes Part II'. This lesson picks up where a previous lesson left off, so, be sure to check out that lesson! In this lesson, we are going to connect using the full scale patterns to their fullest potential! By the time you've completed this lesson, you will have the key to unlock the entire fretboard, and play the blues scale comfortably, moving from position to position! Let's get to it! |
| Minor Pentatonic, Blues Scales and Minor Modes | Advanced Minor Scales and Modes Lesson 1 | Tobias Hurwitz & Dave Martone | This is the first lesson in a four part block which covers advanced minor scales and modes. As you may already know, scales with fancy Greek names like Aeolian, Dorian, or Ionian, have ancient origins, dating back to the 6th century BCE. Our most excellent compadre, Pythagoras himself, had a hand in originating these concepts, which developed further in Byzantine and Gregorian Chant, but have finally settled into a simple and coherent system that allows you to rock hard today! This first installment presents the tools we'll need to proceed on to the next lessons. So, without further ado, let's dig in! |
| Minor Pentatonic, Blues Scales and Minor Modes | Advanced Minor Scales and Modes Lesson 2 | Tobias Hurwitz & Dave Martone | This is the second installment in a four part series on minor scales and modes. In this lesson, we'll learn how to use the tools we acquired last time to improvise fluidly in any mode, all over the neck. The beauty of this system is that not only do you get the minor modes, but at the same time you learn the major ones. So, you'll be able to jam in E-Flat Dorian, F-Sharp Phrygian, A Aeolian, or any mode at all, after you have digested the information in this lesson. But wait, don't make your decision yet, there's more! The supplementary material will include a bonus Phrygian Dominant mode of equal or lesser value at no additional charge! So what are you waiting for? Let's get started! |
| Minor Pentatonic, Blues Scales and Minor Modes | Advanced Minor Scales and Modes Lesson 3 | Tobias Hurwitz & Dave Martone | This is lesson three in a four part block on minor scales and modes. Last time we improvised all over the neck in Dorian, Phrygian, and Aeolian, and learned some cool licks. Now, it's time to explore the Locrian mode, master a cool legato lick, and learn three-note-per-string fingerings for all seven modes. These new fingerings can have the roots reassigned, or can stand alone as excellent vehicles for modal improv! So stay right here, and get ready to burn on lead guitar! |
| Minor Pentatonic, Blues Scales and Minor Modes | Advanced Minor Scales and Modes Lesson 4 | Tobias Hurwitz & Dave Martone | This is the last lesson in a four-part block on minor scales and modes. We'll focus mainly on the harmonic content of the minor modes in this installment; in other words, how to create a modal chord progression. After all, a mode is not only a scale, but a prevailing harmonic environment, and that harmonic environment usually determines the mode to be used for improvisation. This lesson is extremely important in applying what you've already learned. So let's get started. |
| More Movable Chords | Suspended Chords | Tobias Hurwitz & Dave Martone | Suspended chords are some of the most commonly played chords on the planet, and have a really cool sound. These floating harmonies have no 3rd, which makes them blend in either with major chords or minor chords. Since the 2nd or 4th is included instead of a 3rd, they work well to create chord melodies and cadences. Open position sus chords are also very easy to play. Most of us have even probably made one by mistake, just by letting our fourth finger fall onto a simple D chord, turning it into a D sus 4. But, these movable chords go way beyond simple open voicings, as we're about to discover in this lesson, so, let's dig in! |
| More Movable Chords | Root 4 and Higher Voicings (Major) | Tobias Hurwitz & Dave Martone | This lesson is dedicated to major chord voicings on the high strings. These little beauties are found throughout the rock repertoire, in songs by Led Zeppelin, Bad Company, Sublime, The Chili Peppers, Rush, and well, you get the idea - pretty much everyone! A lot of players ignore these voicings, or never learn their names, even though they play them frequently. Of course, if you take out a few minutes to study and understand them, their applications will become instantly obvious, and your playing will improve! So, let's dig in! |
| More Movable Chords | Root 4 and Higher Voicings (Minor/Diminished) | Tobias Hurwitz & Dave Martone | This lesson will explore minor and diminished chord voicings on the high strings. These little beauties will help with everything from constructing chord scales to funking out, to learning classic rock tunes to sweeping arpeggios! You can't even make it through the first bar of Stairway To Heaven without encountering a root 4 minor triad. No ska or reggae skank could ever be complete without the high three-string minor triad voicing! So, it's time to get your groove on with another wave of cool chords! Let's do it! |
| More Movable Chords | Cool Progressions Using Root-4 Voicings | Tobias Hurwitz & Dave Martone | Root-4 chord voicings are excellent for adding life to common progressions and cutting through the mix of instruments in a rock band. They're also indispensable for playing chord scales that stay in one position. This lesson will teach two cool progressions which highlight root-4 voicings. Bands such as The Red Hot Chili Peppers, Led Zeppelin, Sublime, and Rush couldn't survive without these chords, and you can't master the guitar without learning how to use them! So, without further ado, let's get into it. |
| More Movable Chords | Constructing 7th Chord Scales | Tobias Hurwitz & Dave Martone | Learning to construct 7th chord scales is an indispensable skill for the serious guitarist. These jazzy voicings have a softer sound than simple triads, and are useful in many styles of music. The music of Led Zeppelin, Pink Floyd, Yes, and many other great rock bands is chock full of 7th chords! This lesson will cover 7th chord scales with roots on the 6th, 5th, and 4th strings. There will also be an example that climbs the scale in a single position. Not only will you learn the fingerings of these scales, but you will also come to understand the theory behind them. So, let's get started! |
| More Movable Chords | Hendrix Fills III | Tobias Hurwitz & Dave Martone | Hendrix fills, which are also called chord ornaments, have become a staple in the vocabulary of rhythm guitar. This soulful style helps to define songs like Little Wing and The Wind Cries Mary. It's also used by many modern rockers like Steve Vai, Pearl Jam, and the Red Hot Chili Peppers to name a few. This lesson will focus on major and minor chord ornaments in the style of Jimi Hendrix. So without further ado, let's get started. |
| Expanding Arpeggios II | Diminished Triad Arpeggio Form: Expanded to 6 Strings | Tobias Hurwitz & Dave Martone | Somewhere along the road to mastering rock guitar we all have to learn our arpeggios. And the diminished triad arpeggio is of course no exception. This little beauty has a spooky sound and an unusual fingering to match. It's a great chops builder, and is also useful for playing arpeggio chord scales and for soloing over changes. We're going to learn four 6 string forms of it, two root positions, 1st inversion, and 2nd inversion. And, as always, we'll be learning the theory behind it and how to use it. So without further ado, let's get started. |
| Expanding Arpeggios II | Diatonic 7th Chord Arpeggios Through Key (Extend to 6th String) | Tobias Hurwitz & Dave Martone | This lesson will present four arpeggio forms that span six strings each: the major 7, minor 7, dominant 7, and minor 7 flat-5 forms. These will all be needed to play the diatonic 7th arpeggio scale, which will be presented in the key of G major. Of course suggestions will be given on how to apply the arpeggios, and tips will be included on the picking. Arpeggios are fun to play and help build the chops you'll need to solo over chord changes. If you're interested in Prog, Fusion, Shred, Jazz, Instrumental Rock, Jam Band stuff, or just mastering the guitar, then you're in the right place at the right time! So, let's get into it! |
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