The building blocks of modern Rock/Pop guitar playing

In the following videos we're going to learn one of my all time favourite warm up exercises. I always do this before playing a show and it always helps to warm up the hands!

Here we're using all 4 fretting fingers on the left hand in various combinations and developing a strong right hand alternating picking pattern.

Once we're comfortable with the first video then move on to the second. It's pretty much the same thing but with added hammer ons and pull offs, a great way to work on these techniques!

Try alternating between the two versions as you add them in to your daily practice. Start by playing the exercise with all of the notes, then the next day try the version with the hammer ons and pulls offs.

This is a great thing to do whilst watching TV or sitting around the house. We don't always need to hear the notes that we're playing, and the repeated muscle movements go a long way to help with finger dexterity.

Here is another of my favourite warm up exercises. This one comes from the classical guitar world, and focuses on a disciplined approach to developing left hand fretting technique.

Firstly we're working on moving fingers independently whilst the others are placed on the guitar neck, then looking at developing our ability to move two fingers at the same time.

In order to play this exercise comfortably, our left hand must be in the right position. Remember to keep you thumb behind the guitar neck in line with your middle finger.

You can try this exercise from various frets on the guitar - I chose the fifth fret for this video as it's a good in-between area to practice this movement. The close you get to the headstock, the wider the frets and the wider the stretch.

In this section we're going to learn about intervals and how to identify them on the guitar. This is one of the most valuable and useful topics to understand when it comes to playing guitar and learning how notes work together.

Let's get stuck into some theory - for this video we'll put the guitar down and learn what intervals are and how they work.

We should now have an understanding of what intervals are, but how do we apply them to the guitar?

In this video we're going to use one string of the guitar only and apply the interval template we made up in the last video.

Note - we only used the low E string for this, but the same rules apply for every other string!

Let's take this interval chart and put it into context through learning a riff and examining the intervals that are used.

So identifying intervals on one string is good in theory, but it's not particularly practical on a 6 stringed instrument! Besides, we want to be able to play some of these intervals together to play chords and create harmony.

The following videos look at using a one octave major scale to help us identify where intervals are across the first 3 strings - E, A and D. Pay attention to the difference in sound between the major and minor intervals!

In this final video we'll learn how to identify and play intervals across all 6 strings. Taking the major scale from the last video, we'll move this across different strings to see if we can use this shape across the board. These shapes can be played from any fret on the guitar.

Watch out for the difference in shape when we reach the B string!

So that's quite a lot of information on intervals, and for good reason! These are very common when discussing music and having an understanding of how they work is really valuable when talking to other musicians. You'll see them pop up a lot over the course materials, if you get lost then please revisit these videos and take some notes!

Here we will expand on our chord knowledge! For each chord we'll go into detail about how these are made up and how to add them in to our playing.

This section will be split up into the following categories -

1. CAGED Chords, 5th chord and open 7ths.

2. Barre Chords - Major and Minor

3. Barre Chords - 7ths

Here we have a quick introduction to what we mean by 'major' and 'minor' chords.

We may be familiar with playing these chords, but it's important to know why they sound the way they do! Here we are taking what we've learning about intervals and putting them into context. Being able to identify and discuss chords in this way is a huge step towards learning how music works.

Here we will look to either learn or recap on some of the most common guitar chords - the C, A, G, E and D shapes. This is referred to as the 'CAGED' system, simply because the chords we play spell out the word 'CAGED'. It feels like there should be a more complicated reason behind this name, but nope, it's that simple!

In these videos we can call some of the shapes 'open chords.' - E, A and D. This is because the root note of these chords is an open string.

First up we'll go over the major chords. Download the chord chart attached to this video.

When writing a major chord we can simply write the letter of the chord, for example C - C major, E - E major.

Let's have a look at some minor versions of these chords. Download the chord chart attached to this video.

Again these shapes can be called 'open chords.' - Em, Am, and Dm. In this case we're leaving out the 'C' and 'G' chords as their minor shapes require a more difficult chord position. We'll come back to this when learning barre chords.

When writing a minor chord we can simply write the letter of the chord, for example Am - A minor, Em - E minor.

Let's try putting these chords into context with few chord charts to follow. Feel free to make up a strumming pattern of your own or simply strum the chord once before moving on, at this point it's all about getting used to the changes.

Example chord changes -

• C, Am, G, D

• Am, Em, G, D

• A, D, E, A.

These order of these chords might seem a bit random at the moment, but later in the songwriting section we can have a look at why these chords work together, and how we can make up patterns of our own.

In the following videos we'll learn about 5th chords. These are also known as Power Chords.

These chords are and always have been hugely popular in rock and pop music, making up iconic riffs by bands like the Kinks and Cream, through the punk era with bands such as the Sex Pistols and into more modern pop punk such as Green day and blink 182.

These chords are made up of a root note + perfect 5th, and that's it!

5th chords are movable around the fretboard, so in learning only one shape we can cover every note.

The following video shows how to use 5th chords in a riff. From this we can learn how to easily move the chord around the guitar.

In changing only one need in each of these chords, we can turn a regular chord into a 7th.

There are a few different types of 7th chords, please note that the chords in this video are Dominant 7th chords. These are simply written as '7' chords.

Be sure to download the attached chord chart for reference!

Putting these 7th chords into context, let's learn a 12 bar blues in the key of A.

A 12 bar blues typically follows the same form every time (see below), and you might be familiar with the sounds of some the changes.

A / / / | D7 / / / | A / / / | A7 / / / |

D / / / | D7 / / / | A / / / | A7 / / / |

E7 / / / | D7 / / / | A7 / / / | E7 / / / |

A 'Barre' chord is a chord that uses any finger, usually the first finger, to 'bar' across 2 or more strings.

In using only a few different shapes it allows us to cover chords on every fret on the guitar, and move away from the open chord position and it allows us to play chords on notes such as sharp and flat notes. In learning 4 different chord shapes we'll be able to cover every major and minor chord with the root note on the low E and A Strings.

See the attached 'Maj min barre chords' chart as a referencing tool for the next few videos.

Let's start by learning a minor barre chord shape, with root note on the A string. This is the easiest of the 4 shapes to play, so a good place to start. I find that students often attempt barre chords by starting with F on the low E string, probably the hardest one to play! Starting here with allow our fingers to get used to barring before moving on to the harder shapes.

Learn the shapes and then apply them to the rhythm exercise in the next video.

Let's take the above shape and move it around a bit. This shape can be played over the whole fretboard so it's a good idea to practice moving it around. Remember to bring your thumb with you as you go!

In this video we'll look at playing a barre chord, this time with the root note on the low E string. Notice the similarities between this chord and the last - it's almost exactly the same thing but moved up a string!

Staying on the same string, let's change this major chord to a minor chord.

To introduce the minor 3rd, all we have to do is list of the middle finger. In theory this is easy, but it means that we now have another string to bar with the first finger!

Lastly, we'll move back down to the A string and learn to play a major chord with the root note on this string.

This is probably the trickiest shape, which is why we saved it for last!

There's two ways to play this chord, you can use the open 'A' chord shape or instead use your third finger as a barre.

In this video we'll take the 4 shapes that we've learned for barre chords across two strings and put them in context using a simple rhythm pattern.

Remember when moving these chords around that it's essential to bring your thumb with you. Think of keeping it inline with your middle finger as you move.

In this lesson we’ll look at learning how to play 7th chords from any fret on the guitar, providing that the root note is on either the low E or A strings. We have three types of 7th chords -

• Major 7th
  

• Minor 7th
  

• Dominant 7th

We’ve already had an introduction to understanding how dominant 7th chords work in an open position, now let's learn the others and also move the dominant 7th up the fretboard. This approach will be in a similar way that we approached barre chords. Infact, these 7th chords can be seen as barre chords with a few changes.

These chords are a great way to add 'colour' and different sounds to our chord progressions.

Please make sure that you take note of the following -

When writing 7th chord chats we can use shorthand as follows -

• Major 7th will be written as maj7 (or sometimes a small triangle symbol). e.g. Cmaj7
  

• Minor 7th will be written as m7. e.g. Cm7
  

• Dominant 7th will be written as 7 e.g. C7

Here we will learn 7th barre chords with the root note on the low E string. Please download the attached chord chart to work from!

Remember, as with barre chords we can move these to any fret and whatever the root note is, that's the name of the chord. The shape then gives us either a major 7, minor 7, or Dominant 7 chord.

We move up a level here in terms of difficulty with barring notes, so take your time to make sure each note rings out clearly.

Tips with barring - bring the first finger up a bit, and tilt it to the side. Keep you're thumb in line with the middle finger.

Note here that the intervals aren't presented in a nummerical order - For example a major 7 chord has Root - P5 - M7 - M3 - P5 - R. As mentioned before, this is common with guitar chords!

Moving to open position

As with the root note E string 7th chords, if we move this chord shape all the way to the top of the fretboard (behind fret 1), then we can figure out how to play major and minor 7ths in an open position.

Try this first with the dominant 7ths, you'll notice that it's exactly the same shape we learning in the 'open 7th chords' section, but with slightly different fingerings.

To practice -

Use the following shapes to work out the following chord charts. Grab your 'root notes' chart if you need help with the note names.

• Gmaj7, Am7 x 2

• Am7, Cmaj7

• B7, Amaj7, B7, C#m7

As with barre chords, now we will take a look at learning 7th chords with the root note on the A string. Please download the attached chord chart to work from!

Moving to open position -

As with the root note E string 7th chords, if we move this chord shape all the way to the top of the fretboard (behind fret 1), then we can figure out how to play major and minor 7ths in an open position.

Lets recap where we're at with these chords. Learning to play them is one thing, but be sure to remember what is happening with the intervals and how the notes work together.

All three 7ths share a root note and perfect 5th, and differ in the following ways -

• Maj 7 - M3, M7
  

• Min 7th - m3, m7
  

• Dom 7th - M3, m7

In this video we'll take these new 7th chords and put them into context with a chord chart + rhythm. Make sure to practice this at a slower tempo to get used to the chord changes themselves.

There are a number of approaches that we can use to practice scales that will help to develop our overall playing abilities. Try not to think of practicing scales as too much of a disciplined repetitive exercise. Scales are useful when it comes to making up our own melodies, improvising and developing technical ability!

In the above video I discuss practicing scales in three ways. When learning a new scale we need to learn the scale, refine our playing and think about the notes we're playing. These practice tools apply to all of the scales given in this course.

So a couple of things to think about here - when approaching a new scale the first thing you want to do it learn the shape itself.

For this we can either use the downloadable TAB files from each page, or use the fingering chart in each video. Using both is a good way to approach the same thing from different angles.

- Look out for symmetry and repeated patterns within a scale. Recognising these and anything else that's familiar to something you already know is a good way to help memorise the shapes.

- Be sure to use consistent finger patterns, if you use your third finger ascending, make sure you use the same one on the way back!

- Keep your fingers down if you have more than one note on a string.

- Use alternating picking.

- learn both variations - root note E string and root note A string. Think of the differences and similarities.

Once we've got the shape down, look at refining your practice by working with a metronome. You can use an online metronome (https://www.metronomeonline.com), a physical metronome, or an App (I often use the 'Guitar Tuna' app which has a built in metronome!).

Try the scale looking at only the left hand, then only the right hand, then looking away.

In thinking about a scale, we want to highlight the intervals that we're playing.

Each scale video on this course has a run through of how it's made up. Try saying these intervals out loud if you can, it'll help link them up with the shape itself.

Here we also want to think about transposing the scale, moving it around the fretboard.

Whatever the first note is, this is the key and the type of scale follows, for example if we play a B, then use a major shape, then we have a B major scale. Move these up and down the fretboard and notice how the scale becomes more or less difficult as as you move. Try both root note e string and root note a string variations!

The major scale is one of the most commonly used musical scales in western music. Like many musical scales, it's built up of seven different notes.

We will use it for building up technical exercises, improvising and understanding how notes work together.

The major scale is built up of the following intervals -

Root - Major 2nd, Major 3rd, Perfect 4th, Perfect 5th, Major 6th, Major 7th.

In the following videos we'll learn how to play this scale with the root note starting on both the low E and A strings in one octave. We can move this scale pattern up and down the guitar neck and whatever the first note is, that's the key!

Download the TABs for these scales below.

In these videos we will learn to play the second octave of these major scales, taking us from one side of the guitar neck to the other.

Again these shapes can be moved around to any fret and whatever the first note is, that's the key.

Download the TABs for these scales below.

By far the most commonly used scale in guitar music, let's learn about the Minor Pentatonic scale.

The minor pentatonic scale is built up of using the following intervals -

Root - Minor 3rd - Perfect 4th - Perfect 5th - Minor 7th

Interesting to note here is that we do not have seven notes as with other diatonic scales! This is what gives the scale its unique sound. The fact that we don't have any intervals that are a semitone away from the next means that we can avoid any tension building between notes. This means that these group of notes generally sound good together regardless of when, how and in what order you play them.

We're going to learn this scale all over the guitar neck, but let's start off by learning the first octave only. Feel free to move this around - if the root note is a G, then we have a G minor pentatonic scale and so forth.

The classic 'box 1' minor pentatonic shape is something that you may have already come across; this scale is usually the first scale that a player will learn when looking to improve on improvising skills and technical soloing ability.

Here is 2 octave version of the previous video, covering all 6 strings.

Playing a scale in only one position can be quite limiting. When watching videos of some of the best guitar solos it's more than common to see a guitarist moving across different areas of the fretboard. Learning these pentatonic boxes is going to do exactly this!

If you remember from the 1 Octave Pentatonic video - we have 5 notes that make up a pentatonic scale, and here we have 5 'boxes.' Each of the boxes starts on different note of this scale. This doesn't necessarily change the key, but that each box starts on a different note (interval) of this scale. This means that even though box 2 starts on a C (m3), using this shape means that we are still playing an A minor pentatonic as all of the notes stay the same. Different box = same notes!

The major pentatonic scale is built up of using the following intervals -

Root - Major 2nd - Major 3rd - Perfect 5th - Major 6th

Note - This shape may look very familiar - it's the same as 'box 2' of the minor pentatonic. This is to do with relative major and minor notes. A bit more on that later!

The minor blues scale is built up of using the following intervals -

Root - Minor 3rd - Perfect 4th - Augmented 4th/Diminished 5th (blues note) - Perfect 5th - Minor 7th

This scale is almost exactly the same as a minor pentatonic but with added note in the middle. This 'extra' note is known as the blues note and sits between a perfect 4th and perfect 5th. Listen to how it sounds - right away you can hear the bluesy effect by using this chromatic run.

This is a very common shape and a great way to add a bit of character to your soloing.

In a similar pattern to the Major scale, this scale is built up of seven different notes.

This scale is built around the following intervals

Root - Minor 2nd - Minor 3rd - Perfect 4th - Perfect 5th - Minor 6th - Minor 7th.

Here we have 2 octaves of this natural minor scale. This shape is very common in rock and metal music (think Metallica!) and has a much darker, sadder sound than the pentatonic scale.

The Harmonic Minor scale is built around the following intervals -
Root - Minor 2nd - Minor 3rd - Perfect 4th - Perfect 5th - Minor 6th - Major 7th.

This scale is very similar to the natural minor, however the addition of this major 7th adds some tension, or an 'Egyptian' sound to the scale.

Here we have a second octave of the Harmonic Minor Scale. Watch out for the position changes on the higher strings!

A major arpeggio is built the same way as a major chord - Root, major 3rd and Perfect 5th.

In the following video we'll look at learning this arpeggio in two ways - the first using the 3rd on the string below, and the second using the 3rd on the same string as the root note. Both are correct and both are useful in their own ways - practice both equally!

Attached is a chart for both major and minor arpeggios that can be used to help us remember these shapes.

These arpeggios work from any fret on the low E and A strings and can be moved around easily.

Try a few examples in the following positions, use both variations! -

Root note on the Low E string -

- A

- D

- F#

Root Note on the A string -

- B

- D#

- F

A minor arpeggio is built the same way as a minor chord - Root, minor 3rd and perfect 5th!

In the same way as the major, we'll learn this in two ways, with the 3rd on the string below and the 3rd on the same string.

Try a few examples in the following positions, again use both variations -

Root note on the Low E string -

- Gm

- C#m

- Bbm

Root Note on the A string -

- Cm

- Ebm

- Gm

Learning the arpeggios in one position is good for understanding what they are made up of, but in reality we need to learn these across the fretboard. You can use the same shape with the root note on the E, A and D strings but we need to change things when the B string is involved.

The following exercise shows us how to do this and looks at taking the same arpeggio across three different octaves. The major exercise uses the first variation from the previous videos with the third on the string below.

In this video we do the same thing as before but this time with a minor arpeggio. Notice how the position of the minor 3rd changes as we move across the strings.

The TAB for this exercise is included in the previous lecture.

Attached is a chart for major 7th, minor 7th and dominant 7th arpeggios that can be used to help us remember the shapes in the next few videos.

In the same way that we approached chords, let's look at adding 7ths into the arpeggio patterns.

We have the same interval buildup for the arpeggios as we do the chords, meaning that for a Major 7th arpeggio we have the following -

Root - Major 3rd - Perfect 5th - Major 7th

As with the major and minor arpeggios, we play these notes in numerical order. We can take the same shapes from the previous videos and add the 7ths in.

To practice, try a major 7th arpeggio in the following positions -

- Bmaj7 (Root note E string)

- Cmaj7 (Root note A string)

- Emaj7 (Root note A string)

To play a minor 7th arpeggio we'll change the 3rd and 7th intervals to minor.

Root - Minor 3rd - Perfect 5th - Minor 7th

Try this in the following positions -

- Am7 (Root note E string)

- G#m7 (Root note E string)

- C#m7 (Root note A string)

To play a dominant 7th arpeggio we'll keep the 3rd as a major interval and flatten the 7th as below -

Root - Major 3rd - Perfect 5th - Minor 7th

In the following three videos we're going to do the same thing that we did with the major and minor arpeggios - learn how to move them across 3 different octaves on the guitar.

The TAB for all three is attached here to this video.

See the above 'major 7ths - 3 octave exercise' video for the tabs to this exercise.

See the above 'major 7ths - 3 octave exercise' video for the tabs to this exercise.

One exercise to rule them all? This page breaks down what I see as one of the best exercises to use to help us understand what we mean by the circle of fifths, and in turn learn how keys are related. Theory aside, this also works as a great technical exercise to improve our scale playing and build stamina.

Make sure to download the attached circle of fifths chart. It's worthwhile printing this out and keeping it somewhere easy to access!