Question:
Ok, here is the idea.
I sudgested this idea in another thread. We need a thread that is an end all/be all of guitar technical q/a's.
Bassically, once a week someone starts a new thread asking how to pull off a certain technique (ie; barre chords, harmonics, bends, solos, etc), and that thread has been done many many times. The hope for this thread is to have a directory of all of these techniques that we can refer begginning guitarist to.
What I would like is for the members here who have particular knowledge of certain techniques to come and post what they know. In this way you can help educate other guitarist, and cut down on the number of unnecessary threads at the same time.
_________________________________________________________________
Ill go ahead and get this started, and hopefully others will contribute.
Getting started on learning any new technique.
1. Always have a practice peice.
When learning a new technique find a peice of music that you know uses this technique, or that you can apply the new technique to. If you dont have a "practice peice" then its going to be harder to learn new techniques on the guitar.
2. Search for opportunities to include new techniques into your playing.
Finding, and taking advantage of any practicle use of a new technique is crucial to learning how to properly use it. You need to find out how it works inside of music, and when to use it. This can only be done if you include the new techniques into music you are playing already. We'll call this "Practical Application". Practical Application is the only way to learn exactly how to use techniques on the guitar.
3. If all you ever do are exercises, then you wont get anywhere in your playing. This is an extention, or simplification of the last 2 points. Exercises alone will actually harm your playing, I can attest to this fact because all I used to were excersises, and my playing suffered greately because of it.
_________________________________________________________________
Ok guys, ive gotten it started, I would greately apreciate if you would contribute your own knowledge of guitar to this thread.
Answer:
Hammer-ons

This is when you simply strike a note on the fretboard with your fretting hand without picking it. It's self-descriptive; hammer the note.
One thing to remember is that you don't need to hammer the notes hard at all. Professional players actually do hammer-ons with almost no effort, leaving it to good technique. Within the space between frets, there's what's called a "sweet spot," where the note rings out the clearest and loudest with almost no effort. I find that it's just right behind the fret, about right here:

|-----x--|


Though, experiment with your guitar for yourself. Nail the "sweet spots" and get good at hitting them to ensure a bright, clean sound. Remember, hammer-ons have nothing to do with strength; it's all in accuracy and technique.


Pull-offs

Pull-offs are self-explanatory as well; just pull the finger off without plucking the note.
The way I perform pull-offs, I literally pull on the string slightly as I bring my finger up. If you try to lift your finger directly off, it won’t sound out as well. Plucking it slightly with the finger (you don’t have to do it much at all, just very slightly), it will ring out nicely.
Tapping


I haven’t explored tapping much yet, so I won’t say too much, but basically it’s when you take your picking hand and you tap the frets on the fret board. You could apply the same techniques you use with hammer-ons and pull-offs to create good sound when tapping (such as hitting the sweet spot, pulling off slightly). I personally use my pointer finger, but the middle finger could be used as well.Answer:
In an effort to get this thread a bit of publicity...

Bending

The most important thing about bending is to bend perfectly on pitch. I heard somewhere that people remember how well you bend on pitch before they remember how fast you play. When you practice bending, pluck a note, then bend the fret up to that exact pitch from one or two frets down.

----5----3b5---5----4b5

There's another way to do it.

e-------
b--3--
g--5b7--

Practice hitting that pitch on the B string.

The way I do bending, I use my second and third fingers to push the string while my thumb is wrapped slightly around the neck. This gives it leverage.
Answer:
Harmonics
Harmonics are notes played by placing a finger on a "harmonic node" while playing a note to make a different note sound out, a technique used commonly in both acoustic and electric guitar styles. There are four major kinds of harmonics: Natural harmonics, artificial harmonics, pinch harmonics, and tap harmonics.

Natural Harmonics
A natural harmonic is simply a note played on a string without fretting it. Try
this: Place your index finger on the twelfth fret of the low E string, but
don’t press down. Pluck the string with a pick, then take your finger off the string and let it ring out. The result should be a bell like ringing tone one octave above the low E. Harmonics can be found all the way up the fret board. Some commonly used natural harmonics are at the 12th fret, 5th fret, 4th fret, 9th fret, and the 7th fret.
Try this riff from “Summer Song” by Joe Satriani
e-----------------------------------------------
B-----------------------------------------------
G-------------[5]-------------------------------
D---------[5]-----[5]----------------play 2x----
A—[5]-[4]-------------[4]-[5]-------------------
E-----------------------------------------------
[5] means play a natural harmonic on the fifth fret
To follow up, here is a list of the stronger natural harmonics on the fretboard on the first 12 frets...
Octave "0" is the octave of the open string. 1 would be over a full octave above the open tone, and 2 is over 2 octaves above, etc. The roman numerals are the interval from the open tone.
Fret - Degree - Octave
0 - I - 0
2 - II - 3
2 1/3 - I - 3
2 2/3 - DomVII - 3
3 - V - 3
4 - III - 2
5 - I - 2
5 1/2 - AugV/DimVI - 3
6 - III - 3
7 - V - 1
8 - I - 3
9 - III - 2
9 1/2 - V - 3
10 - DomVII - 3
10 1/2 - AugV/DimVI - 3
11 - VI - 3
12 - I - 1
Each of the above has the same node mirroring it measured from the bridge towards the nut, if these are measured from the nut towards the bridge.

Artificial Harmonics
Artificial harmonics are similar to natural harmonics, except your left hand
(or right hand, if you’re a lefty) is fretting a string, and your picking hand
is producing the harmonic. Try this: Fret the third fret of the low E string with your left hand. Then, place your middle or index finger on the fifteenth fret, and then pluck the string. The result should be a high G and octave above the fretted note. This technique is used to create a harmonic practically anywhere on the fret board.

Pinch Harmonics
Pinch harmonics are a technique used in electric guitars with lots of distortion. This is how many rock and metal players make their guitars squeal
during a solo. Try this: Fret a note on the 17th fret on the high E string. Now you will use your thumb on your picking hand to play the harmonic. Place your pick between your fingers so that only a little bit of your pick sticks out (this may be uncomfortable at first). Making sure your thumb hits the string lightly when you pluck the string, search the string for a strong harmonic around the pickups. This may be hard to find at first, but eventually you will find it. When you play that, a high note should sound out. With distortion, it should sound like your guitar is squealing.
Tap (Harp) Harmonics
Tap harmonics, or harp harmonics, are similar to artificial harmonics,
except you tap the string. Try this: Fret the third fret of the low E string
with your left hand. Then quickly tap the fifteenth fret against the fret board with the index or middle finger of your picking hand. The result should be a harp-like sound. This technique is often used on full barre chords to give a harp-like tone.
Try playing this:
e--3-----------------------3(17)--------------------
B--3-------------------3(17)------------------------
G--4---------------4(16)----------------------------
D--5-----------5(17)--------------------------------
A—-5-------5(17)------------------------------------
E--3---3(15)----------------------------------------
The first number is the fretted note, and the numbers in parentheses are the frets you tap.
Answer:
Thanks guys for posting. I had almost resigned to letting this one die off, heheh.
___________________________
Barre Chords
A couple of things to keep in mind when first starting out on barre chords.
1. Your thumb needs to be behind either the middle finger, or the index finger. This will allow you to put the greatest amount of pressure on the strings and allow more accuracy with less effort.
2. Barre Chords are hard, and finger cramps are normal in the beginning. Practice, and exercise will help to remove some of the cramping and soreness.
A barre chord is simply a chord where the INDEX finger (first finger) is layed over multiple strings on one fret.
e-1
B-1
G-1
D-1
A-1
E-1
In that example all strings are barred by the first finger. Lets start there.
Hold this barre, and adjust your finger position until all 6 strings sound out clearly.
Initially in learning barre chords you are going to experience alot of fret buzz, but with practice this will be remedied quickly.
Alright, now that you have played the barre, and adjusted all of the buzzing out of it, lets build an actual chord with it.
We are going to start out with what is probably the easiest possible barre chord.
e-1
B-1
G-1
D-1
A-3
E-1
This is the Fm7 chord. All you should do is add ring finger to the third fret of the 5th string (marked as A).
Play this chord until there is no buzzing.
Now lets add another finger to this barre, and thus change the flavor of the chord.
e-1
A-1
G-1
D-3
A-3
E-1
This is the Fm chord. All you need to do is add the pinky to the 3rd fret of the 4th string (labled the D string).
Continue to make sure that you are eliminating buzzing sounds, and that you are not muting any strings. Practice often, and become efficient at forming the barre, and the chord without any buzzing, or muted strings.
Ok, so you know how to play the Fm7, and the Fm chords, now we are going to add one more finger and make the chord a straight F(major) chord.
e-1
B-1
G-2
D-3
A-3
E-1
What you have done is added the middle finger to the 2nd fret of the 3rd string (labled as the G string).
This is F(major).
This is the simplest, and most basic barre chord form. Its based on the E(major) chord, which is played in open position. Using the Index finger to bar the strings, this form can be moved to any position on the fretboard to play any major, or minor(or m7) chord. Such is the same with all barre chord forms, they are all moveable, and can all be used to play various Major, Minor, and Minor7 chords anywhere on the fretboard.
There are exactly 5 individual (different) chord forms that can be made into barre chords, and each of these forms has an alteration for Minor, Minor 7, and some aditional flavors.
Im going to detail one more form, and then place tabs for the other 3 for you to work on and practice.
This is the A form Barre Chord (based on the A major chord in open position).
e-1
B-3
G-3
D-3
A-1
E-X
Barre the first fret with your Index finger. Next place your Pinky on the 3rd fret of the 2nd string (labeled the B string), then place your Ring Finger on the 3rd fret of the 3rd string (G string), then place your middle finger on the 3rd fret of the 5th string (D string).
This is the A major form in 1st position. Now if you did it correctly, and there is no buzzing, or muted strings, then you have just played a Bb(flat) major chord.
The next is Am
e-1
B-2
G-3
D-3
A-0
E-x.
_____________________________________________________________________________
There are other variations of those 2 forms that create a lot of different sounds, and feels. And most songs that use barre chords can be played using just those 2 (I’ve done it to most songs that use Barres, and they work).
But knowing all of the Barre Chord Forums will help you add a nice flavor to your music, and allow you to explore many different ideas musically.
Here are the other 3 basic forms with no alterations (they will be tabbed in 5th position).
Strings marked OPTIONAL mean that they can be played with that chord, but are not necessary for them to sound correct.
Strings marked with an “X” are not to be played (they are either not needed for the chord, or are not part of that chords tone group - 1,3,5).
C form.
e-5
B-6
G-5
D-7
A-8
E-5(optional).
G form.
e-8
B-5
G-5
D-5
A-7
E-8
This form is fairly difficult at first, but its really fun to play when you get good at it.
D form.
e-7
B-8
G-7
D-5
A-5(optional)
E-x
Answer:
Here is some stuff I wrote years ago about chord theory, transposing (capo use) and chord and key stucture. I hope it can help someone!
Basic Chord Theory (Page 1)
By Dan Brown
Basic Notes:
1--------2-------3----4------5--------6-------7--------8---9------10-------11-----12
A - A#/Bb - B - C - C#/Db - D - D#/Eb - E - F - F#/Gb - G - G#/Ab
Major chord structure: (1) base note (2) 4 up [sharp] (3) 7 up
Examples: C major = C- E- G, D major = D -F# -A, G major = G- B- D,
Bb major = Bb- D- F, F major = F- A- C,
Eb major = Eb- Ab- Bb, A major = A- C# - E, etc.
Minor Chord structure: (1) base note (2) 3 up (3) 7 up (flat the 4th )
Examples: C minor = C- Eb- G, D minor = D- F- A, G minor = G- Bb- D
Bb minor = Bb- C# - F, F minor = F- Ab- C
Eb minor = Eb- G- Bb, A minor = A- G- C, etc.
Seventh (and Minor seventh) chord structure: Add higher, 1 full step flat note from base.
I.e. C7 or Cm7 = add higher Bb note, D7 or Dm7 = add higher C note, G7 or Gm7 = add higher F note,
Bb7 or Bbm7 = add higher G# note, F7 or Fm7 = add higher
Eb note, Eb7 or Ebm7 = add higher C# note, A7 or Am7 =
Add higher G note, etc.
Major seventh chord structure: add higher ½ step flat note from base
I.e. Cmaj7 = add higher B note, Dmaj7, add higher C# note,
Gmaj7 = add higher F# note, Bbmaj7 = add higher A note,
Fmaj7 = add higher E note, Ebmaj7 = add higher D note,
Amaj7 = add higher G# note, etc.

Second chords: replace second note in major chords with whole step flatted note, i.e. replace F# note in a D major chord with an E note, etc.
Suspended 4th chords: replace second note in major chords with a ½ step sharped note, i.e. replace the C# note in an A major chord with a
D note, etc.
PAGE 1
Basic Chord Theory (page 2)
By Dan Brown
Basic Notes:
1--------2-------3----4------5--------6-------7--------8---9------10-------11-----12
A - A#/Bb - B - C - C#/Db - D - D#/Eb - E - F - F#/Gb - G - G#/Ab
1st Major chords (base chord) = Key that you’re playing in i.e. key of D = D major chord, Key of C major = C major chord, Key of Eb major = Eb major chord, Key of A major = A major chord, etc.
2nd Major chords = 5- 1/2 steps up from the base chord i.e. C chord in Key of G, F chord in Key of C, Ab chord in Key of Eb, etc.
3rd Major chords = 7- 1/2 steps up from the base chord (sometimes a 7th chord) i.e. D or D7 in the Key of G, G or G7 in the Key of C, C or C7 in the Key of F, Eb or Eb7 in the Key of Ab, etc.
1st relative Minor chords = 3- 1/2 steps down from base chord (the key you are playing in) i.e. Em in the key of G, C#m in the key of E, Am in the key of C, Cm in the key of Eb, F#m in the key of A, etc.
2nd relative minor chords = 1 whole step up from base chord (same as relative minor of 2nd major chord) i.e. Am in the key of G, Em in the key of D, Dm in the key of C, Bbm in the key of Ab, Bm in the key of A, etc.
3rd relative minor chords = 2 whole steps up from base chord (same as the relative minor of the 3rd major chord) i.e. F#m in the key of D, Em in the key of C, Bbm in the key of F#, Abm in the key of E, C#m in the key of A, Bm in the key of G, Gm in the key of Eb, etc.
Accidental 7th chords are 7th chords that match (like E7 rather than Em, D7 rather than Dm, etc.) the relative minor chords in any key, the 7th of the 2nd relative minor the most common and the 7th of the 3rd relative minor the next important and the 7th of the 1st relative minor being the least common.
PAGE 2
Basic Chord Theory (Page 3)
By Dan Brown
(9 Primary chords in all 12 keys)
Key of A: Relative major chords: A, D, and E (or E7)
Relative minor chords: F#m, Bm, and C#m
Accidental 7th chords: B7, C#7, and F#7
(Key of A# or Bb) Relative major chords: Bb, Eb, and F (or F7)
Relative minor chords: Gm, Cm, and Dm
Accidental 7th chords: C7, D7, and G7
(Key of B) Relative major chords: B, E, and F# (or F#7)
Relative minor chords: Abm, C#m, and Ebm
Accidental 7th chords: C#7, Eb7, and Ab7
(Key of C) Relative major chords: C, F, and G (or G7)
Relative minor chords: Am, Dm and Em
Accidental 7th chords: D7, E7, and A7
(Key of C# or Db) Relative major chords: C#, F#, and Ab (or Ab7)
Relative minor chords: Bbm, Ebm, and Fm
Accidental 7th chords: Eb7, F7, and Bb7
(Key of D) Relative major chords: D, G, and A (or A7)
Relative minor chords: Bm, Em and F#m
Accidental 7th chords: E7, F#7, B7
(Key of D# or Eb) Relative major chords: Eb, Ab, and Bb (or Bb7)
Relative minor chords: Cm, Fm, and Gm
Accidental 7th chords: F7, G7, and C7
(Key of E) Relative major chords: E, A, and B (or B7)
Relative minor chords: C#m, F#m, and Abm
Accidental 7th chords: F#7, Ab7, and C#7
(Key of F) Relative major chords: F, Bb, and C (or C7)
Relative minor chords: Dm, Gm, and Am
Accidental 7th chords: G7, A7, and D7
(Key of F# or Gb) Relative major chords: F#, B, and C# (or C#7)
Relative minor chords: Ebm, Abm and Bbm
Accidental 7th chords: Ab7, Bb7, and Eb7
(Key of G) Relative major chords: G, C, and D (or D7)
Relative minor chords: Em, Am and Bm
Accidental 7th chords: A7, B7, and E7
(Key of G# or Ab) Relative major chords: Ab, B, and C# (or C#7)
Relative minor chords: Fm, Bbm, and Cm
Accidental 7th chords: Bb7, C7, and F7
Note: Sometimes minor 7th chords are substituted for 2nd and 3rd relative minor chords in any key., as 2nd chords or major 7th chords are substituted for 1st relative major chords .
Suspended 4th chords are sometimes used along with “second” chords in endings.
PAGE 3
Answer:
All About Chord Symbols!
(particularly for jazz cats)
The Parts of a Chord Symbol
Let's take a nice, fancy chord example:
Cmaj7(b5)(add13)/F
First we have the root [C]. The root is the basis of the chord. Start here.
Next we have the chord name. The chord name starts with one of three things:
maj: aka. ma, M, ∆
This means you use a major third, and a major seventh.
min: aka. mi, m, -
This means you use a minor third and a minor seventh.
dim: aka. °
This means you use a minor third, minor seventh, and a diminished fifth.
aug: aka. +
This means you use a major third, major seventh, and an augmented fifth.
[nothing]
This means you use a major third and a minor seventh. If you just have the root alone, then that simply means major triad, not using any other notes.
After that you have a number. This number represents all the additional notes to add to the chord. Chords are built in thirds, so the number here is going to show what thirds to play:
7 means play notes 1, 3, 5, and 7.
9 means play notes 1, 3, 5, 7, and 9.
11 means play notes 1, 3, 5, 7, 9, and 11.
Over 11 the pattern changes.
13 means play notes 1, 3, 5, 7, 9, and 13.
13 and higher chords usually omit the 11th, though you don't see many chords with a number larger than 13 (though you maight see 13 a lot).
Now what about 6ths? Just follow the rule, and play 1, 3, 5 and 6. You won't come across many fourths and seconds, but if you do, it's safe to assume it's a major triad with those notes added.
After that, you have lovely alterations. These numbers flat or sharp (or maybe doubleflat/doublesharp) a note in your chord. If you no alterations, leave your chord be, but if you have an alteration, you basically just need to do what it says. In the example chord, the fifth is flatted. So take any fifth in your note, and play it flat.
After that you may have a note addition. This is where you take a note, and add it to your party. It can either be written as adding an interval (such as adding a 13) or as adding a note (Fm9(add E)). Perhaps you may ask "If they're going to add a 13 to a G7, then why don't they write G13?". It's simply because you don't want the 9th implied by the 13. They add it instead.
Lastly, you have the bass note. That's the note you put at the very bottom of your chord. Usually, the bass takes care of that note.
Now I didn't cover suspensions. You have two main kinds of suspensions, a sus2 and a sus4. Essentially, you're erasing the third, and playing a 2 or 4 in its place. If the chord just says sus (as it usually will), play a sus4.
If we take a chord like:
Fm13
In a jazz band setting, you can think of it like this:
1, b3, 5, b7, 9, 13 are the notes in the chord. The beauty is that you only need to play some of those notes. Pick out a few. You are not required to play each note (in fact, it would be very difficult to play every note). You can play, for example:
Fm
Fm7
Fm9
The rest of the band will carry the rest of the tonality.