Guitar Lessons/Tips/Advice

It's been a busy time for me but I have managed to add the next installment of "House of the Rising Sun" to the lessons. This is part 3 and is more of an accompaniment part that the traditional arrangements we know so well.

Practice your techniques slowly and build up speed. With slow practice and accuracy, speed will follow.

We all experience problems when we practice. This means we continually find that there are things we “can’t do”. What we do with that experience defines us as players. Part of fulfilling the description of mastery, of eliminating obstructions in our relationship to experience, is to react to this common experience from a position of power, not from a position of weakness.

Seems like a simple enough question, but can you answer it? I have read and been involved in discussions on various musicians' forums on the Internet and there are a lot of different opinions regarding this.

Hi, fellow twanger ... it's been a long while since I've posted my Weekly Lesson here. Sorry about that, I've been up to here with 'stuff', not the least of which is a new baby daughter.

Hi, fellow twanger. It's been a while since I last added my post to GNW. I had a big computer crash and studio/office revamp and I was out of the loop altogether. But, I'm back now.

Hi, fellow twangster ... I'm back. Sorry about the long gaps, I've had my work cut out for me recently ... check it out: http://au.youtube.com/watch?v=92k5uht6axw

Ever wonder how someone could be so good at what they do? Do you wonder if you could ever be as good as your favorite guitar player?

I remember when I first started playing I told my teacher "I want to play something that sounds cool!" So I figured that you're thinking the same thing. :^)

In this essay, I am going to apply a number of The Principles of Correct Practice For Guitar to a technical area that is of major concern to players.

One of the Vision Music's most popular, ongoing features, especially for first and second year guitar and bass players, is the 'Eye Test' page.

"Attention Metalheads! This week I shall introduce you to the low-down potential of the 7A tuning.

The Locrian Mode is the name given to Notes 7 to 14 of a Major Scale (the seven note one 'do re mi' etc) or notes 2 to 9 of a Natural Minor Scale(the relative minor scale of the 'do re mi' one).

This week, Guy answers our readers queries about 7-string playing in a band context.

The phrygian Mode is a particularly useful scale. With a little experimentation it can be used in and out of its proper context i.e. D phrygian has the same notes as the G Natural Minor scale (G Aeolian) so its proper context is within the Key of Gminor (or its relative Bb Major).

This week I'm still trying to make amends for the old 7A bias (you will be pleased to know that I now spend equal time with each tuning) with this group of bar chords.

Here are some Power-type chords for all the 7B tuners.

In response to the growing cries for 7B tuned bits, here are the Modes for 7B tuners.

Here are some diminished arpeggios for seven string guitar players.

Here are some Dominant 7th Arpeggios for 7 string guitarists:

This week I've laid out an expanded fretboard for the curious folk out there who might be wondering what the names of the notes they play are.

Here are some good tips for re-voicing old 6 string chords as 7 string chords...

Here's the latest from our Seven string guy... Guy Pople.

This retrograde inversion sheet music submitted to us by [email protected]

Peter Blue gives some tips on how to un-rattle a Fender Blues Junior amplifier.