Claude Thomas, Lead Guitar Information

By Ricky Sharples

This article features some free online acoustic guitar lessons that begin at the basics so that beginners can have a good start in the world of acoustic guitar music. These lessons will cover how to hold the guitar and take you through the process of tuning the strings by ear.

To start off, before you even attempt to play any music it is essential to be aware of how you are holding the guitar in your arms and yourself in the chair. You should be sitting towards the edge of the chair, and while you are playing the guitar resist the temptation to move your butt back in the chair. This puts your body into a posture where you resemble a sack of potatoes held to the ground by gravity. If you maintain your posture with a little discipline, you will have much greater freedom of movement while you are learning to play the guitar.

It is vital that you do not put too much tension into your left wrist, so before you start playing, check out how it feels to have your thumb held slightly above the center line of the guitar neck with the line of the fingers running parallel to the neck of the guitar. The purpose of this position is to allow your fingers to go anywhere they want on the fretboard without straining your wrist. Your left fingernails should be kept short to allow you to place the tips of the fingers squarely behind the frets.

As for your right hand, you should not be resting it anywhere. If you rest it on the top of the guitar body you are restricting its movement. It is much more difficult to move your hand from a state of inertia, so put up with any slight discomfort at the beginning, and later you will not even notice it.

Now to tuning your guitar. As you learn more about acoustic guitar playing you will find out about guitar pitch pipes, tuning forks and electronic guitar tuners. These tools help you get your guitar to what is called concert pitch. This is simply an agreed on tuning so that when a bunch of musicians want to play together they know what pitch to tune their instruments to. Whether your guitar is at concert pitch or not you can still play it, so you need to learn how to tune the guitar to itself.

Assuming you have your sixth string at the pitch you want it, you get the fifth string in tune by putting a left hand finger on the fifth fret of the sixth string. Play the note. This is what your fifth string should sound like, so as you are listening to the sound of the sixth string, play the open fifth string. Keep sounding these two strings and adjusting the pitch of the fifth string until they sound the same. Once the sixth and fifth strings are in tune put your finger on the fifth string at the fifth fret and play the note. This is a D, the note of the open fourth string. Turn the tuning peg on the fourth string until the open string matches the sound of the fifth string played at the fifth fret. The next string is the third which is the G. The process for tuning the third string is the same as for the others - the G is at the fifth fret of the fourth string.

By Rod Low

It seems strange to me how many incorrect assumptions and teachings there are about becoming a better guitarist. Here are a few things that are often NOT true.

1. You should be a well rounded player and learn lots of different styles of music to become a good guitarist. This is one of the most ridiculous statements I have ever heard on the subject. Segovia (the classical guitar master) wasn’t well rounded - he didn’t waste his time to master jazz or bluegrass for example. Yngwie Malmsteen didn’t study intense jazz guitar. Most great jazz guitarists don’t study classical guitar or heavy metal guitar. Stevie Ray Vaughn never learned to play fusion or metal. Great country players usually don’t study Progressive Rock. Of course there are examples of players that do learn and play in more than one or two styles, but most of the really great guitarists are known for the style they focussed on. They are masters of their style, they are specialists, not a jack-of-all-trades type of player. Don’t listen to people who say something like, You must learn blues before you can learn heavy metal or classical guitar.² You do not have to be well rounded.

The only time one needs to learn lots of different styles of music is because your goals REQUIRE it. If you truly love a lot of styles and want to learn them all, then go ahead and do that. If you want to be a studio musician or a jobber, then you will need that versatility. Its very hard to be REALLY good at many styles.

2. You should be able to play all the techniques of the guitar. Van Halen did tapping but not with all his fingers as others have done. He didn’t play finger style much either, but we still regard him as an important guitarist, the same thing can be said for Vai and many others. Classical guitar master John William’s probably doesn’t play well with a guitar pick (I am assuming this to be true, I have no proof of it), but he is considered one of the greatest classical guitarists alive today. Skills like improvisation, songwriting and playing with a guitar pick or not going to be high on his list of skills to acquire. This is because classical guitarists generally don’t do those things - and don’t need to to be great at what they do. These players are great players in their own ways and they have spent many years developing their skills. Learning everything about guitar playing would have taken away precious practice time from the things they needed to focus on to reach their goals.

3. Teaching yourself is the best way to be original. This is so obviously false its hard to believe that anyone could actually believe it - yet some people still do. Don’t fall into the trap of thinking this is the best way to learn. This is the most close-minded philosophy I can think of. Musical skills are tools. One should want to obtain and master as many of these tools as will be needed to reach your goals. Doing that alone won’t work well and even if it does eventually work, it will take 10 times as long! Besides, how will you know if what you are trying to do is original if you don’t learn about what has already been done?

4. To be GREAT means I have to be BETTER than everybody else. We already touched on this one above, but it is worth mentioning again here. What matters is reaching YOUR goals, not someone else’s goals. Who cares if you are or are not better than someone else? This is not the olympics. Music is the art of expression (or for some people, the science of entertainment).

5. You need natural talent to be a great (or even a good) musician. Don’t believe this. It is true that some people possess more natural abilities in one or skill or another. For example, some athletes are naturally fast sprinters. Others are great marathon runners. Others can swim faster or longer. Others can jump higher. Others are stronger. Others are smarter. Others have faster reflexes. Others can through a football better. Others can shoot a basketball better, etc. The point is athletes with great abilities have them usually in one area. For example, Michael Jorden (arguably the world’s greatest basketball player of all time) was not very successful when he tried to play baseball (or golf for that matter). Think about athletes in the olympics, they are specialists. They have found their natural ability and developed it to its greatest potential, but that natural ability is usually limited to one skill.

Music is very different from a skill or a sport. There is no such thing as musical skill. There exists only a large set of musical skills. Think about some of the very different types of skills a musician needs to have: a highly developed ear, good physical technique on his/her instrument, heightened creativity, the ability to improvise well, songwriting/composing skills, the ability to play in time, the ability to play with others, the comprehension of music theory, a good memory, the ability to read music, etc. The list goes on and on. Some players have a natural ability to play fast, some have naturally good ears, some have good voices, some are naturally more creative than others, some are natural improvisers, etc. NOBODY has natural talent in all of the necessary areas to be a complete musician.

Think about the masters of music. Mozart was probably most naturally gifted in only three of these areas: technical skill, a great ear (perfect pitch), a great musical memory. But he had to work hard at all the other areas of music just like everybody else.