Quote by crazysam23_Atax

Here's my issue with everything you've said so far:
You're acting like music is a math equation, as if there's a right answer. There's not. The way music works is that we have many options. Some will sound better than others. None of the options are wrong.

So, just stop.

You misunderstand my actions.

While there are many options, there certainly are more and less appropriate ones, especially if your giving advice to a beginner.

and don't tell me to just "stop" just because you disagree.

PS ……….. let me hear you play the Major scale over the TS's riff, while flatting the 3rd, 5th and 7th, and tell me your not really just playing a variation of the minor scale.
Quote by MaggaraMarine
Most blues is in a major key but uses the (minor) blues scale.

right, they don't use the Major scale.

Quote by MaggaraMarine

If the song is blues based, you could use major thirds if you wanted to. That's not even rare in bluesy music.

Is it rare to hear someone hang on a C# over an Am7 in an A minor blues?
(or Major 3rd over a minor chord in any key)

Quote by crazysam23_Atax
Um...ok. Not sure what you mean by that...I don't really care though...

When did he do that?

Also, I'm still waiting on you to prove how using the notes D, E, F, F#, G, G#, A, B, C, & C# would be inappropriate for this riff. Please, be specific.

Furthermore, who really gives a shit what is "common practice"? If it sounds good, it is good!

Sure if it sounds good do it. But don't pass on your convoluted misunderstanding of what your doing as advice.
Quote by AlanHB
I don't think I suggested it as common practice. I suggested it because we have only been presented with fifth chords so far.

It's not out of the realm of possibility that the progression would actually go E - G - A - B - D (all major chords). In this case my suggestion would be more appropriate than D minor.

well if were not talking common usage then I suggest using the whole tone scale. Use accidentals when appropriate.

But if the TS is looking for something that would typically be used over a power chord progression that follows the minor blues scale, I would highly recommend using the minor blues scale.

If you consistently have to use accidentals, then maybe the real accident is the chosen scale.
Quote by crazysam23_Atax
Actually, if you're smart about notes you play at what times, it would work just fine -- especially since he said with the Dmajor WITH THE ADDITION OF b3, b5, & b7.

It's called accidentals and non-diatonic notes, my friend. Learn them.

Sometimes people think they're being smart, but it's actually just the opposite.

Quote by AlanHB
It's just fine. It's not very metal however.

well, you can play whatever you want and justify it however you want, but to suggest it as common practice is a mistake.... for ANY genre.
I am in a band that plays mostly in Drop D at the moment. Anyway, our riffs to this point are focused around the main chords in the tuning that extend up the neck: E F G A so on up to the 12th fret. The problem that we are having is figuring out what positions to play the lead parts in because we are using so many different chords. This may not be an issue at all, but as I am not primarily a metal guitarist I am used to sticking to the "normal" I IV V or II V I progressions. So, basically I am asking if we would use a D minor scale perhaps or what our options are. Here is an example of a riff I wrote (is this already a song lol sounded familiar when I came up with it?)

0~ 3~ 5/6/7 12p10 12p10
0~ 3~ 5/6/7 12p10 12p10
0~ 3~ 5/6/7 12p10 12p10

So just as an example what are the main scales one would tend to use when using riffs that go up the neck?
p.s. what do you think of the riff, it is kind of Black Sabbath inspired?

Thanks in advance

for your specific example: D minor blues scale. (natural minor could work as well)

Quote by AlanHB
I'll also suggest the D major scale with b7, b3 and b5 accidentals where appropriate.

the D Major scale is not appropriate for the riff as written in the OP.
Quote by tyle12
Hi there so I can't find any info on this and was hoping some gurus could help. Under the bridge by RHCP is something im trying to figure out right now.

It starts out D-F# progression in the key of D and im assuming the F# is a secondary dominant of the vi chord in the key of D.

I would say the intro is in F#. |: bVI | I |bVI bVII| I :|

Quote by tyle12

He then goes to a E progression from I-V-vi-IV for the verse.


Quote by tyle12

Then goes key of F#m i think using F#m-E-Bmin which could some dorian thing? Then the last part he goes into A.

Yeah, F#m. chords are |:F#m E | B F#m :| i VII IV i

the melody is pentatonic.

had he sang a melody that adhered to the F# dorian scale then you could think of it as a "dorian thing".

Quote by tyle12

But he goes Amaj-Amin-G-F which im not quite sure how to understand.

It's a typical A minor progression but with the Major I (borrowed from A Major) thrown in for half a bar.

Quote by tyle12

Theres a quick 2 bar phrasing he does during this progression too where he has a weird chord which is a C with his pinky on the 12th fret of the e and b strings and switches roots from the C-B-D.

Fmaj7 (VI) to E7 (V) in Am
Quote by N_J_B_B
Hey guys,

Same old cliché; played for years but never learnt theory. I'm learning out of an old "fast track" book however I've come into an issue.

The book bases itself around position 1 using open strings etc. I've read on the internet that playing open strings is bad whilst learning how to sight read, and that I should start learning in position 5 as it's the most common and the best for least movement etc.

Should I be learning in position 1 like the book asks or in position 5 like the consensus tells me?

playing on open strings is….."bad"????

no offense but that's one of the dumbest things I've ever heard.

Most books start you in 1st position. It's not in anyway "bad". It's just a logical place to start. Ultimately, it's all stuff you should learn.

Quote by N_J_B_B

Also, are there any things that you guys wished someone told you before you begun your journey to learn theory?


I doesn't do any good to blame other people for not telling you this or that. Just keep learning.
Quote by LTaces
Hey guys

I got a couple of questions about scales, keys and their uses. If someone could help that'd be great.

1) if I'm in a key of say, A major, can I technically use any scale thats in A? So A major/minor and the pentatonics too?

2) When soloing over a progression of chords in a key, those chords will be made from the scale of the same key right? So if I stick to one scale in the same key then the chords will also be chord tones to hit in that scale (obviously there'll be differences for the relative minors)?

3) How do I learn to actually use scales? I tend to run up and down them at the moment and I dont like the sequenced sound. I like the solos of Slash and Angus Young that just dont sound like scales at all.

Currently I'm working on learning by ear a lot as well as practicing my intervals to recognise them by ear and leading into doing the same with scales too.

Any help and advice would be great.

1) I wouldn't say any scale, but there are a number of options depending on the context. Best to keep it simple at 1st.

2) If they are all diatonic chords, which they often are, yes. Many times though there are altered chords included, in which case you'd have to understand where those are coming from. For example if a progression includes a borrowed iv from the parallel minor, the melody will often reflect the change in scale.

3) Well there are fundamentals, and then there is music. You need both. Learn your scales up and down, but don't use the metronome to gauge how fast you are. You only need to know the scale. For music, learn music….. if you like Slash and Angus, then learn their solos. Make the connection to your fundamentals (scale knowledge), and you'll have the answer to your question regarding "how to use scales".
Quote by blunderwonder
Hi again :P

I took about a month hiatus from guitar, mostly because its frustrating to still suck (thats how i see it) after almost 3 years of practice.

I have no trouble with technical problems, im aware i can just work those out with good solid practice, and i wouldnt bother people with easily fixed shortcomings. My issue, and one that has plagued me for the past year or so is "ear training" and "transcription".

My issue is simple, i dont know what im doing. If i were to ask anyone about how your supposed to practice, they'd say start slow, get it right, then go faster, work on your tone and your timing, etc.

But when im working on my ear... I play a song on my ipod over headphones, figure out the key(i suck at music theory too, or more accurately - no matter how much i learn, it wont help my ear, doesnt matter if I know the diatonic chords or not, sometimes im just wrong.), then play some chords over parts, and hope their close or right...

people say "perfect practice makes perfect"

but when i apply this to transcription, my practice is garbage. Ive used all the games, you play a cadence, i can tell you what scale note is played next, you play two notes(ascending anyway) and ill tell you the interval. You play a chord and i can sing Do Mi So. Its all been for naught, makes even less sense now than when i started, i see results everywhere but where i want them.

Yesterday i worked out a janes addiction song, of course the song is only 2 chords and a tiny riff.. no problem. Then i play a nirvana song, i cant figure out more than 2 NOTES to save my life. Feel like i might as well be banging my head against the wall..

anyway, any solid advice would be GREATLY appreciated. I dont care if its a 12 step program, or a 3 hour a day practice regimen, but something that has empirical proof. Another 3 or 4 dozen songs like this and ill end up getting so bummed ill put the guitar away for another month

Sometimes trying too hard can hold you back.

If you learned Jane says…. then just play it and enjoy it. If you have trouble learning the Nirvana song, look it up for starters. Memorize, play and enjoy it.

You get to a point where you start remembering what certain chords and chord progressions sound like. You really don't need to know any theory for this (though I'm not suggesting that you shouldn't learn it), experience is what gets you there.

You do have to be patient, it does take time to develop.
Quote by P_Trik
Interesting thoughts.

1) seeing as this is #3 in the top 100 rated 'works' I would think that over time it WOULD make a difference

2) I'm sure that anyone with any basic knowledge of Keys/Scales/Intervals/Harmony would know that they could fix even a small section of this work.

I'm unwilling to contribute, but I do wish you luck!
Quote by P_Trik
GuitarMunky, yes, absolutely. I'm sure this person submitted with the best of intentions and I in no way am accusing him of deliberate misleading. It doesn't change the fact that many people HAVE been mislead and will continue to be so.

So question for you: if a handful of us could make this particular submission better, for what reasons would we NOT?

1) overall, it wouldn't make a difference.

2) who's to say that you wouldn't be making new mistakes to replace the bad

from edited post above:

It would be a mistake to think you can cure the internet (or even this site) of people that want to pass themselves off as experts by posting advice or "lessons". Given the abundance of information (or misinformation), I'd don't see how you could even make a slight dent. and how would anyone be able to tell the difference between your 5 star post of correct info and someone else's 5 star post filled with misinformation. And you have to consider that you might make a few mistakes yourself. On top of that, the flood of new expert lessons will always continue, so how do you expect to keep up with that?

That said you certainly can add to the pool, and if your info is good, you'll likely be helping somebody.

overall though I say, why bother?
Quote by P_Trik
it's another to pass misinformation along to others trying to learn. This piece of work is #3 in the top 100 rated and no one with any kind of rudimentary music education would rate it even 3 stars much less recommend it to a student or a friend.

Welcome to the internet.

You have to consider that those misinformers most likely had the same good intentions as you.

It would be a mistake to think you can cure the internet (or even this site) of people that want to pass themselves off as experts by posting advice or "lessons". Given the abundance of information (or misinformation), I'd don't see you could even make a slight dent. and how would anyone be able to tell the difference between your 5 star post and someone else's 5 star misinformation.

That said you certainly can add to the pool, and if your info is good, you'll be helping somebody.
Quote by crazysam23_Atax
Ok, that's fair.

Still, I feel like refusal to teach "the why" is often a problem. I suspect a lot of teachers feel that if they go too deep into "the why", then their students will quit, which would cost the teacher revenue.

again your generalizing and casting blame based on your own cynicism.

Quote by crazysam23_Atax

Looking back on when I took lessons, it would have benefited me a lot more if my teacher had told me the why. Granted, I was 16 and impatient as hell. (I basically wanted to be a combo of Randy Rhoads and Steve Vai, without learning everything it would take to get there. lol)

It may have benefited you, but as you admit, and as I've already stated, the real problem was impatience and vanity.

maybe you're teacher would have got you into that if he thought you were ready and willing.

Quote by crazysam23_Atax

I guess it just bugs me that we have so many young guitar players who seem to view scales (or even modes) as a bunch of positions without understanding them fully.

we'll you'll have to get over it, because it will always be that way. You're certainly not helping things by blaming teachers or scale patterns.

I suggest not playing through this pedal anymore…

Quote by crazysam23_Atax
Yes, because the standard teaching method can't be revised at all...

Guitar is one of the few instruments where most teachers don't teach the why and the how simultaneously.

You're mistaken to generalize like that. Teachers are individual people. They don't all teach the same way. It's not like they follow a curriculum like in a school district.

You have to keep in mind that many students don't give a shit about the why and the how, and you can't force them to. If you do they'll just quit and then go online and post about how their teacher sucks and wouldn't teach them what they want.
Quote by crazysam23_Atax
Why do you refuse to acknowledge that learning solely patterns (not the notes or intervals of scales, which is the method many guitar teachers use) can be a temporary stop point for many young guitar players? It's like many players are taught to learn these shapes, without knowing the why.

Yes, it's a teaching problem. And that's the whole damn point. If students were taught to view scales as being across the whole neck, then it would eliminate this issue.

In my experience one things leads to the other. If the student doesn't have the patience to get to the why, it's their own fault.

In general, I would argue that it's not so much a teaching issue, but rather the opposite. It comes from a lack of guidance, or an unwillingness to be guided. With all of the "information" on the internet, people are teaching themselves from random videos, lessons, and opinions in forums. They draw their own conclusions before they have the experience to do so properly. Before the internet it was snippet lessons and tabs from guitar magazines, so this issue is not new.

Another factor is that people are often impatient, and vain. Their desire to get to that point where they can wow all their friends often robs them of common sense. They gravitate towards whatever convinces them will get them there, and fancy named scales and speed often become the main focus. They spend all day practicing scales to a metronome but neglect to do anything else. It's silly, but then again that's what they learn from their Paul Gilbert and John Pertucci videos, articles, lessons ect. I would argue again though, that their inability to see past that stuff is just that…. their inability. It's not caused by learning a scale pattern.

Lets face it, there is a lot of things to learn about music and playing the guitar. You can't learn it all at once. if you stop, or get stuck at some point, it's your own fault. Blaming other people isn't a good way to move forward.
Quote by Sickz
What i mean by getting stuck within the patterns is simply that, getting stuck in patterns. I have had many students and fellow musicians who have had this problem. They have learned scales for example as only a patterns that can be moved around, not which intervalls the scale is made up of, how to harmonize it, which notes of the scale that fits over which chords, playing the same patterns within the scale patterns etc.

so what stops them from learning those things?

Quote by Sickz

I am not saying patterns are harmful, i'm saying they have the potential to be harmful.

that's a contradiction.

Quote by Sickz

That's why i listed many ways to view things in my original post. Learning to view (to stick with the theme) scales as three note per string patterns, the CAGED system, the intervalls that make up the scale, chord shapes etc helps even this problem out so you are not stuck in playing scales as three note per string patterns all the time, or only playing of the CAGED shapes.

that is all good information for a guitarist to learn. I don't see how learning a scale pattern would prevent a person from learning that stuff as well.

Quote by Sickz

I am saying, instead of looking at things from one angle, learn to view it from all different angles.

I would say that is a good way to see it. The mistake, and contradiction, is implying in anyway that one of those angles is "detrimental".

Quote by Sickz

Also, my comment on getting stuck playing shapes is very true. Many people become metronome warriors that sit around practicing scales up and down all day. And when you call for a jam that's all they can play, scales up and down that sounds more like an exercise than music.

Yeah, I've seen that from time to time as well. I don't blame the scale patterns.

Quote by Sickz

I stand for what i said, learn the patterns but don't practice them up and down all day, learn actual music and see how it fits inside the scale patterns.

I agree with that.
Quote by Sickz
If it helps you to start out, then it's great. It's detrimental if you get "stuck" in the patterns.

I don't buy this getting stuck business.

Breaking out of something is actually much easier when you know the boundaries of what that thing is.

Also, learning 1 thing doesn't prevent you from learning another. often times, such as the case with scale patterns, it will HELP you. The relationships you learn about in theory are that much more obvious when you can see how they are laid out on your instrument. Learning the note names is easier as well. If you know where a C is, and the C major scale pattern, it becomes very easy to find D, E, F, G, A, & B

The patterns themselves aren't the cause of anyone getting stuck. It's a sad trend to see them become the scapegoats for the lazy and complacent.
Quote by macashmack
Is it useful to learn scale patterns or is it detrimental?

It's highly useful.

scale patterns give a visual represenation of the patterns/formulas that exist within the scale itself. Being able to recognize this reinforces your knowledge because it gives your mind more to work with. Through experience your mind begins to connect the aural aspect to the visual, so it also ties into ear training. You'll know what a scale (or interval, or arpeggio…ect.) looks like, AND you'll know the sound as well.

They are useful at all levels, not just for beginners.

The problems I see people complaining about in regards to scale shapes, are actually rooted elsewhere. It's more a matter of learning inappropriate things, or learning things prematurely due to a lack of guidance, or an unwillingness to be guided.
This problem ties into practically everything, not just scale shapes.

For example if I had a beginning student, that could barely switch between 2 chords and doesn't know any songs wanted me to teach them the 3 NPS versions of the *insert fanciest sounding scale here* (or any scale pattern for that matter), I would consider it inappropriate/premature. Learning that pattern may be appropriate for someone else though.

In the example above, you can replace "scale pattern" with many techniques or theory concepts like …. 2 finger tapping, sweep arpeggios, voice leading, phrasing, triads, neapolitan chords……… and I would treat it the same.

All of those concepts, including scale patterns are useful at the appropriate time, and within the appropriate context.
Quote by AlanHB
^^^ So do you guys have the self control between yourselves to end that little tangent?

sure, if you have the self control to not be condescending.

Quote by AlanHB

You are free to create a separate thread where this can be discussed if you wish to continue.

If somebody makes a thread and/or statement implying that recognizing shapes and positions on your instrument is in any way detrimental I'd probably chime in.
Quote by crazysam23_Atax
And this is why I didn't want to get into this. You guys are massively off-topic now.

this is what got us into it……

Quote by crazysam23_Atax
Stop thinking of scales as "positions" or "box shapes". A scale is a collection of notes, not a position/box shape on the guitar.

I've seen that pretentious notion regurgitated so many times here, that I often feel compelled to point out that it's nonsense.
Quote by cdgraves
The shapes are for very early beginners, and strictly as a means of visualizing the concept of Position on the neck. The sole purpose is to familiarize a student with what notes are "correct" for a given location of the index finger. Basically showing when it's appropriate to move your hand up or down to hit a note. But there certainly aren't any steadfast rules about that.

There's also a use of the word "shape" that is more or less synonymous with Voicing (the specific arrangement of notes in a chord/arpeggio/scale/interval).

The shapes are useful at practically every level. Pick any well known guitarist, watch them play…. you'll see them play in positions…. through shapes.

Definitely not a beginner thing to use shapes and I argue that the biggest problems with guitarists and shapes is the premature learning of them.

A lot of people skip the foundation and try to learn the shapes with the fanciest titles in a vain attempt to be awesome. They don't listen, they don't have any knowledge, and they can't play any songs, but they can run up and down the locrian mode with full on distortion over a Steve Vai sounding backing track. Ultimately they realize they sound like shit….. discover theory, or some bastardized version of it that they piece together from random advice/info they find on the internet, then start blaming the shapes (not their approach) for how bad they sound and/or their lack of knowledge. by that time they've become experts and decide it's time to start giving advice and arguing with people online.

anyhow, plenty of shapes in this guys playing, nobody thinks of him as a beginner…
Quote by John Swift
Do you honestly think Peter Green or Eric Clapton gave a toss about scales (that is if they knew them which they didn't).
Scales are the reason why you go from venue to venue hearing the same solo.

I honestly do think they gave a toss, and they certainly did use them.

and no scales aren't the reason for a lack of originality or creativity.
Quote by crazysam23_Atax
Stop thinking of scales as "positions" or "box shapes". A scale is a collection of notes, not a position/box shape on the guitar.

Those collections of notes certainly do create shapes on an instrument, and can be found in positions on the guitar. There's nothing wrong with recognizing that.

These kinds of mistakes are more indicative of a lack of foundation. A lot of people skip that foundation and then make mistakes when piecing together random information they find on the internet. It doesn't stop them from giving advice though.
Quote by tallguy97
I understand the relative minor and major relationships. As far as I can see I shouldn't be using an A minor scale over an A major key or chord. Please any help or advice is much appreciated

When you play a minor pentatonic scale over a Major chord you get an altered dominant sound. b3 = #9. So A minor pentatonic over an A Major chord = A7#9

As mentioned above this comes from the blues where most if not all of the chords are dominant 7ths.

regarding accidentals… they are generally not just random notes outside of the key but are actually based on specific relationships. (secondary relationships, borrowed chords, upper extensions, altered notes…..)
I am 21 and I love guitars as much or more than anyone. I was watching a video that Premier Guitar did at a local shop that I go to quite often. It made me think, I wonder if at some point in my lifetime the people will no longer play the guitar. This is probably a stupid question but while many people start their guitar journey each day, technology continues to advance. I just wonder if someday like regular amps and guitars will no longer be around. That is a life that I don't want to be in. lol
What do you think?

I think there will probably always be people that play guitar, but it's definitely had it's day, and the peak was decades ago. I don't believe it will ever be like that again. I do fear that regular guitars and amps will lose out to technology and pop culture. I wouldn't worry about it though, as there isn't a thing you could do about it other than play your guitar and enjoy the heck out of it.
Quote by steveharley70
Just reading last years post on finger independence exercizes. I never knew really the importance of warming up, and was wondering what kind of warm ups people do.

I just play… anything. After a few minutes I'm warmed up. Doesn't sound as impressive as saying " I play chromatic exercises extremely slowly to a metronome and then gradually increase speed", but it's a lot more practical and musically applicable, and just as effective for warming up and finger independence.
Play easier songs….. come back to Blackbird later.


keep working on Blackbird slowly, but be patient and allow yourself whatever time it takes to get down proficiently…… and keep playing easy songs. Don't be overly judgmental. it takes time…. .you'll get it down if you allow yourself to.
Quote by fastforded
. but im wondering about how to set up a "program" that will really speed up my learning and abilities.. so i can start moving onto more complex topics and theory, technique, etc.

It takes time. No program eliminates that.

Keep playing, keep learning, be patient, enjoy the process, don't over-think it, and don't take yourself too seriously.
Quote by soulnrock

My question:
So how do i train myself to play melodies on different positions on the fly, without pausing in between changing positions to find the notes on the new position?

Thnx in advance.

Practice playing melodies in different positions on a regular basis.
Quote by dannydawiz
Hello everyone!

I'm reading that when part writing you should always resolve the 7th of a chord down by step.

The first chord that I have down is a Cmajor chord.

The second chord that I have down is an Em7 chord in second inversion.

The seventh of an Em7 Chord is D.

Does this mean that this D needs to resolve down to C?

What you read is most likely talking about a V- I cadence where the 7th of the V chord resolves downward to the 3rd of the I, while the 3rd of the V chord resolves up to the tonic.

When reading up on these "rules", you have to consider context & application.
Quote by rocklore

I have managed to tab out the modes in a symmetric pattern , 4 note per string but I can't seem to figure out Lydian, any ideas?

Here is the page so far, it's done except for where it says lydian.

C Ionian

D Dorian

E Phrygian

F Lydian

G Mixolydian

A Aeolian

B Locrian

Why? it's not like you could actually play it that way.
Quote by dannydawiz

How does one master a song so that it is effortless?

Play a lot…. .don't worry about it….. let it happen naturally.

Quote by dannydawiz

How does one master a song so that they can play it 100% accurately?

Don't think in terms of "mastering" … or "%100". You're over thinking it and setting yourself up to fail.

If you just play often, you'll get better at the material. You'll become more and more consistent, and as a result more confident.

Quote by dannydawiz

When I play guitar it's easier to make mistakes and get away with it. However awhile back I tried learning a song on piano and I have to say that I find the piano a lot harder to play accurately. The minute I make one mistake it seems like everything just falls apart where as on guitar if I made a mistake I could potentially recover.

What do you guys think of this?

Don't think in terms of "making mistakes" or "getting away with it".
just play!

Sometimes we're our own worst enemy, impeding our progress by over thinking and trying to live up to unrealistic expectations.
Quote by Sean0913
I'd look at this slash chord as if the bass was the Root. Functionally it doesn't sound like E to me, and its not an inversion.

So that would make A - root E my 5th a G# maj7 and B a 9th. A Major 9th.

A/D I might see as Dmajor 9th. D my root, A my 5th C# my maj7 and E my 9th.

So, a I IV vamp in A would fit the bill. I could solo over it in A. This of course means I see the chords as being based off the Bass note, which I do.



I think he meant a 2 chord vamp from A - D rather than an A Chord with a D in the Bass (A/D)
Quote by weirdzaid
i'm really happy with the material i'm composing.

That's awesome, I'd say continue on and stop worrying about it.
Quote by Playsabadguitar

My friend says you "never" use a I, IV without the five. So the two chord pattern has to be I, V with A as the tonic.

I would consider that statement to be a huge red flag. What you decide to use is a matter of choice. What you call it is a matter of context.
Quote by MistaChy
Howdy, I'm new to guitar. I have a Ibanez Ag95 and Deluxe Players strat. I bought the strat as my first guitar on impulse but feel that i love the hollowbody more as it is the one that encourages me to play. Also, I have an AC30 with a bluesdriver pedal. Now that I'm set up, I'm not sure of what I like to play. I thought it was jazz, but I hate jazz chords. I love blues, but scales are tough and its a slow learning process, but I want to play NOW! So is it rock? I don't know, there's all different kinds.

I came across this video that shows the perfect style I want to play.

At 3:07 into the video, I'm in heaven. He plays a great chord rhythm, then he loops it, and lays the perfect harmony on top of it. I love that style, but i have no idea what it is. Can someone help me understand what style this man is playing from 3:07 to 3:45. Those last two notes he hit just before it cuts out to a different segment are amazing. I want to make my guitar sing like that, but i dont know what hes playing. I also like the 5 minute mark to 5:34... that is also the sound I want to play.

Thanks for any help and guidance as I pave my way down this glorious road of music.

forgot about glory, that's a bad place to start. Just play a lot, listen a lot, learn your fundamentals, appreciate music at all levels, and allow yourself to develop your own style naturally.
You could always use your ears and pick notes that sound good over those chords. Just a thought.
Quote by CS_Fugee

Hi, all.. I'm a musician and I desperately want to improve and learn intensively the guitar and shredding as so. Music is my whole being and I feel like a phony saying that without my outlets expressing that for themselves. It's sad and it hurts me because I am being untrue to my one true love- and gift. I need someone to help me and guide me there. I love a lot of funk guitaraists, jazz guitarists, EVERY guitarists who has a concept of sound that hits me so, all sort to be fair. Not one particular style, but I want to be able to do that ^ someday. (D'angelo, soulmate funkadelic cover) And I feel sad and stuck because I have all these emotions that I know if I knew how to exploit musically would change my life and hopefully reach others- genuine emotions.

I'm not interested in anymore nonsense lessons, and no pun intended but I've gone through two guitar teachers now. I just turned 21 and while I know many are self taught, there's so much more I want to learn. I am a complex person and if I don't learn in an intensive way I will not excel, or find hope or see the light.

While my previous teachers have been nice people and gifted guitarists, I also feel they are not the teachers for me. Music is a very spiritiual thing and I need the help to convey my talents and sound from within to others through a guidance in an abundance.

I need a guru to help me or to guide me for that matter. I always try to find them but return unlucky and back to square 1.

Also, I'm interested in recording a demo at least, but I've got no musicians other than myself and write my own material. But again it's hard for me to write material I believe in or am proud of without being more adequate on things such as guitar and as a singer/songwriter, I don't want to be just that, I as to be a full fledged artist. I want to pick up a guitar someday and inspire like how Prince did or Hendrix or many others- while they are long shots, we're all human beings and we all have capabilities if we believe.

I'm full of angst and hope at the same time because I know there's so much more for me, but I feel stuck and artistically sad and it hurts my life because I need to get this guitar. I need to not just put my hands on two or three chords and pick them almost in-proficiently because it's what I've "learned" I need a lot of help.

I don't know if any of you could help me, but this is my artistic reach and plea and I'm in hopes someone or something could be my guidance or at least guide me to someone who can be. It's not about the money to be fair, on my end, and please just be honest musician to musician with me as music is my life and I am pursuing this not only as a career but it's my life literally.

It is the epitome of my whole being, but because I can't adequately express myself through such mechanism the way I want and know I can dream of/believe I can I am a starving and sad artist who is hungry for that knowledge. I see music literally, and can't even explain my hunger to others who don't understand. I go to music shops for hours on an end admiring the sounds and for years have been saying "One day I'll be that good, I hope, one day the sound will just come out with my feelings" as an artist I feel. But it's so hard for me, I need help. I'm sad because of this.

So I beg for you all reading to just be honest in response on what to do and where to go, because so many guitar teachers are out there, and gurus, and everyone has their gift, but a lot of it I've noticed are sales, or only promise you a "Well today we'll practice this and what do you want to learn??" no guide to technique, no nothing. Bare progress, bare truth, bare music, just lesson to listen. I need help. I see things like these : (this especially)

Obviously people like Hendrix, but there's so much more beautiful musicians and their ways of composing music through sound that inspires me. I want to do the same. I mean think of people like Wyclef Jea, I love his concept of sound as we're influenced by the same sounds to a point- he has a lot of island influences. Think Cuban guitar, think reggae/kaiso/calypso/soukous(congolese), but I love every sound. I mean I listen to people from all over like Rodrigo y Gabriela, Grant Green, all sorts of "no name" musicians/artists have you and I desperately want to get there, but am sad and stuck. I need advice desperately.

I want to be myself and I just need someone or something musically to guide me there and to help me find it because I don't know which way to go. I hear so much music it actually deters me away from the world for better. It's the epitome of my being but I'm sad because I'm sick of saying I wish and picking up these teachers that I know spiritually as a musician I don't connect with. It usually turns into me breaking my pocket in hopes of someone guiding me to the truth and to myself and expression. I crave to be able to out pour these feelings as an artist, and often feel sad and stuck.

I want the truth of music. I want to pick up a guitatr on the spot in sing from the ehart without having to worry, I want to express myself, not just have that hobby. this is my life here, so i'm not sure if any you can at least offer me any advice as a musician to musician, or even offer me any help- but I figure I take this chance to be open and in hopes that another musical being will hear my plea in this world and genuinely want to help me into the right direction.

People often impede their own progress by taking themselves far too seriously.
Quote by diverkev
What should I expect from guitar lessons?
I have just started taking lessons but all that I seem to do is play along to the song sheets which I was given the lesson before. When I can play them I am given more song sheets to practice from. I do not feel like I am being taught anything, I can find tabs and song sheets on line to play along to.
Is this normal or am I expecting too much?

You can get song sheets online, but you can't get personalized guidance. Shirley your teacher is doing more than just giving you random song sheets.
can you play any of those songs?