Basic Techniques, pt. 11: What is string-bending?

Whether you realize it or not, musicians who play different instruments employ a number of the same techniques. For example, violinists and trumpet players both use vibrato while pianist and flutist can both play a trill. However, there is one technique that seems to be unique to the guitar and that is string bending. 

Although no one is quite sure who invented or first started to bend strings as a technique, it does appear in the electric blues of the 1950's. B.B. King is said to have poplularized the technique in his attempt to imitate the sound of slide guitar. 

While there are a variety of ways or types of string bends players use, the technqiue will be defined as the act of pushing up or pulling down on string in order to change the pitch of a note.  

In next month's post I'll start to dig into how to teach students to bend!

Basic Techniques, pt.10: Trills

Way back in July of 2021 I began an extended series of posts regarding basic techniques guitarists can employ in their soloing and rhythm playing. The most recent posts (parts, 6, 7, 8 and 9) revolve around hammer-on's and pull-off's. This month I'll be combining the two and discuss trills.

The trill uses a rapid series of continuous alternating hammer-on's and pull-off's. However, the first note is picked and the sound of all notes thereafter are produced with strictly the fingers of the fret hand. See these sample exercises.

There are two things to keep in mind as you are playing a trill: 

1) Fingering: As with hammer-on's and pull-off's practice trills using all fingering combinations (starting with a H.O. - 1,2 - 1,3 - 1,4 - 2,3 - 2,4 - 3,4 and starting with a P.O. - 2,1 - 3,1 - 4,1 - 3,2 - 4,2 - 4,3). 

2) Rhythmic Accuracy: Try to play trills in time, so practice with a metronome.  

See you next month!

Basic Techniques, pt. 9: Pull-Off exercises

In  last month's I discussed pull-off's; another basic technique that all guitarists should have in their skill set and a technique which can be utilized effectively in both rhythm and lead playing. 

In the previous post I outlined how the how pull-off's are done and this month I'll offer exercises to help students develop their pull-off skills. 

The following exercises incorporate a variety of finger combinations in order to facilitate finger development using the technique. The student will find certain finger combinations easier than others. Whereas, the independence between fingers such as the 3rd, 4th (ring finger and pinky) have not been as developed as the 1st and 2nd (index and middle). 

Remember when working finger combinations, the goal is to have the note which is "pulled-off" come out as clear and similar in volume as the one which is picked. 

I hope you find these exercises helpful. 

Basic Techniques, pt. 8 - Pull-off's

For the past several months I’ve been posting about basic guitar techniques that beginning guitarists can start to incorporate into their lead and rhythm playing. In last two posts I have discussed hammer-on technique. This month I'll be talking about it's sister technique the pull-off. 

The pull-off is a technique in which the player picks a higher note and a finger below “pulls off” onto a note below it on the same string; hence only the higher note is picked. The sound of the second note is produced by the speed and "grip" or catching of the flesh on the pad of the finger “pulling-off” onto the lower note. Watch the video here.

There are several tricks to producing a good sounding pull- off: 1) The sound of the second note should match that the first. In order to do this the finger doing the pull-off should have a sufficient amount of its pad (fleshy part of the back of the finger tip) "catch" or be in contact with the string. Whereas, the finger pad acts as a "pick" contacting the string in order to produce sound. 2) Maintain an arch in the fingertip: If the fingertip stays arched when pulling off it will help the flesh of the finger catch the string more fully. There are times when you will pull-off with a collapsed finger, but learn to maintain an arched finger. 3) The finger doing the pull-off should should pull backward in order to catch the string rather than simply lift off the note. If the finger simply lifts of the note rather the pulling backward, the sound will not be as clear or loud. 4) Timing: To create a smooth flow between the picked and hammered notes the students should be practicing with a metronome in order to create even sounding notes.

Next month I’ll discuss some exercises to practice in order to create great sounding pull-off's!

Basic Techniques, pt. 7 - Hammer-On exercises

Last month I began discussing hammer-on's; a basic technique that all guitarists should have in their skill set. It is a technique that can be utilized effectively in both rhythm and lead playing. 

In the previous post I outlined how the how hammer-on's done. This month I will offer some exercises which will help students develop their skills with hammer-on's with all fingers. 

The following exercises incorporate a variety of finger combinations in order to facilitate finger development using the technique. The student will find certain finger combinations easier than others. Whereas, the independence between fingers such as the 3rd, 4th (ring finger and pinky) have not been as developed as the 1st and 2nd (index and middle). 

Remember when working finger combinations, the goal is to have the "hammered note" come out as clear and similar in volume as the one which is picked. 

I hope you find these exercises helpful. 

Basic Techniques, pt. 6 - Hammer-On's

For the past several months I’ve been posting about basic guitar techniques that beginning guitarists can start to incorporate into their lead and rhythm playing. So far I’ve discussed single string slides and palm mutes and this month I’ll tackle the hammer-on.

A hammer-on is a technique in which the player picks a lower note and “hammers” a finger onto a note above it on the same string; hence only the lower note is picked. The sound of the second note is produced by the speed and force of the finger “hammering” onto the higher note. Watch the video here.

There are several tricks to producing a good sounding hammer-on: 1) The sound of the second note should match that the first. Therefore, the second finger should not hammer too hard or soft – it will take practice to produce “even” sounding notes. 2) Maintain an arch in the fingertip: If the fingertip stays arched when hammering it will help produce a more focused strike. There are times when you will hammer with a collapsed finger, but learn to maintain an arched finger. 3) Timing: To create a smooth flow between the picked and hammered notes the students should be practicing with a metronome in order to create even sounding notes.

Next month I’ll discuss some exercises to practice in order to create great sounding hammer-on’s!

Basic Techniques, pt. 5 – Palm Muting, single notes

Last month I discussed a basic technique many guitarists use called “palm muting” and applied it to an E5 power chord. This month I’ll continue on the topic of palm muting, but apply the technique to single string playing.

Try applying the palm mute to an A minor pentatonic scale pattern when played both ascending and descending. Keep in mind students may need to slightly adjust the picking hand as it moves from string to sting as it is now muting a wider area. Watch the video here.

Next month we'll discuss another basic technique!

Basic Techniques, pt. 4 – Palm Muting

In July I began a series of posts on basic techniques beginning players can use when they are first learning to solo as well as use in their rhythm playing. This month I discuss the technique of palm muting and how to apply it to chords as well as single notes.

If you are unfamiliar with the term “palm muting” it is the act of placing the edge of your picking hand lightly on the strings at the edge of the bridge in order to dampen tor “mute” the strings. The hand does not need to cover all strings, rather just those that need to be muted. Additionally, the player does not need to apply a great deal of pressure on the strings.

Look at the pictures below to gauge where the palm of your hand should be in relation to the bridge and strings.

Try applying a palm mute to an E5 power chord (see below). First, make the chord and play it without muting. Then, apply your hand to the strings and try to muting the strings – watch the video to see how to place your hand and hear how a palm mute should sound.

Have students practice placing the edge of the palm down on various power chords and full chords. It may take numerous attempts until they are able to do it 

"at will". Also, learn songs or chord progressions that utilize palm muting technique will go a long way to mastering it. 

Next month we’ll be talking about single string palm mutes!

Basic Techniques, pt.3 –Simple Licks Using Single String Slides

Back in July I started to discuss techniques the beginning guitarist can employ when soloing and playing rhythm. Last month I tackled single string slides and how they are executed.

This month I am posting several simple licks which employ slides the beginning player can use in their arsenal. It is a good idea for these to be used as a starting point and for the player to create several licks of their own that use bends. This way the developing player has a stockpile of licks of their own as well incorporate ideas they borrow from others. These licks utilize the A minor pentatonic pattern which was discussed in a previous post. 

Get the PDF here. 

Basic Techniques, pt. 2 - Slides (single string)

In last month’s blog post I listed a number of basic guitar techniques that developing guitarists would benefit from learning as they can be utilized in both lead and rhythm playing. Over the next series of posts I’ll discuss these techniques, this month we begin with “slides”.

A “slide” is executed with fretted notes on the same string and connects the sound of one note to the next. Whereas, the player picks the first note and with their finger remaining on the string, the finger “slides” up or down the fretboard to a second note without picking it - the second note then sounding. This is accomplished without taking the finger off the string or fretboard. Sliding in the direction towards the bridge raises the pitch of the note and sliding in the direction toward the neck lowers the pitch of the note. A slide can be the distance of one fret (fret 5 to 6) or many (fret 5 to 15)! Moreover, the slide is represented by the "line" between notes to indicate which direction the pitch is sliding to.   

For Example:

1. Fret the first note

2. Pick the note allowing it to ring

3. With the finger remaining on the string, slide it to the second note

4. Keep the finger on the string when it reaches the second note allow it to sound

Watch the video

Next month we’ll talk more about slides and some different ways they can be used.

Basic Techniques, pt. I

Back in March I started a series of posts called Introducing Soloing which was meant to give teachers and students some guidance on the basics of soloing. This month I will start a new series that revolve around the basic techniques guitarists employ when they solo. 

Some of the basic techniques that guitarists utilize in solos (and rhythm playing) include: 

• Slides
• Vibrato 
• Hammer-On's
• Pull-Off's 
• Bends
• Palm muting

The developing guitarist who gains proficiency with these basic techniques will be bring their guitar playing to the next level. It would also be beneficial to go back and review alternate picking which is a highly useful way of playing that many guitarists employ. 

Next month we'll start to get our technique on as we dive into slides! 

Introducing Soloing, pt.IV - My Favorite Backing Tracks

Last month I talked about using backing tracks with students as they begin to get into soloing and start to develop their own licks. It is a good idea for the teacher to create a list of backing tracks with various tempos and grooves for students as different music will elicit a different reaction when playing along with it.   

Here is a list of my Top 10 Backing Tracks I share with my students - the majority are based off real songs. Hope you and your students enjoy them!

1. Pink Floyd – Great Gig on the Sky in G

2. BB King – The Thrill is Gone in B minor

3. Gorgeous Blues in G

4. Minor Blues in A 

5. Slow Whiskey Blues in C minor

6. E minor soft backing track 

7. Jimi Hendrix - Foxy Lady in F#

8. Creamy Blues in D minor

9. The Allman Brothers – Whipping Post in A

10. Mountain – Mississippi Queen in G

Send me a list of your favorite backing tracks and I'll compile a list for a future post! 

Introducing Soloing, pt. III - Backing Tracks

Once your students have started to develop their own licks as discussed in last month's post, they should begin to apply them. One of the most wonderful tools available to musicians of all styles is the backing track. In the past backing tracks were something that could only be purchased or self-created, but with the advent of the Internet and YouTube there is an literally thousands available for free. 

If you are unfamiliar with backing tracks, it is a piece of music written in a certain key, tempo and style for musicians (in our case guitarists) to practice with; most often used to practice soloing. These backing tracks run the gamut from "low budget" to "professional quality". Interestingly enough, backing tracks can be a simple 12 Bar Blues or a "recreation" of a classic rock song. Some tracks even indicate the chord changes and various scales and can run up to 10 minutes and longer!

Although YouTube is filled with endless backing tracks, you may want to give Guitartonemaster.com a look. The folks at Guitar Tone Master offer backing tracks for guitar, bass, drums while also giving guitar neck diagrams for all sorts of scales - from pentatonic to the modes. There's a lot there to sift through so enjoy yourself - subscribe to their YouTube channel and like their Facebook page. These folks a fabulous resource for guitar teachers, students and players of all levels!   

If you have any favorite backing tracks drop me a line and let me know. Next month I'll drop a list of my top 10 favorite backing tracks!

Introducing Soloing, pt. II - Creating Licks

Many students struggle learning how to solo because they do not know how to proceed - What do I do? How long should a lick be? Where should I start? This month we'll talk about simple guidelines a teacher can give their students so that they can develop their own licks. 

Guitar players learn to solo by doing two things: 1) They "steal" - meaning students learn other people's licks and incorporate them into their own playing. 2) They develop their own licks applying what they have learned. In truth I like to have students do both at the same time, however the latter is always more difficult as students need to develop confidence and get the creative juices flowing. Ultimately the idea is for players to develop a "stockpile" of licks they can fall back on when they are soloing and string them together to create cohesive solos. 

In February's post I created some simple guitar licks based on the minor pentatonic scale in the key of A; use these licks as a comparison for students as they develop licks of their own. I like to give students two simple guidelines: First, keep the licks short - no more that a measure long. Second, have them use the root of the scale (in this case "A") as the starting and ending note of their licks or what may be called a "target note". This will help them develop an "ear" for licks that will sound good and have a starting/ending point. Have  students develop a series of licks, memorize them and string them together into longer phrases.

Next month I'll discuss how to apply them!

 

Introducing Soloing, Pt. I - Song Lists

When teachers introduce the concept of soloing to students they are often stuck with how to proceed. Guitar solos can run the gamut from playing a single note melodic line to something complex which involves many techniques (bends, hammer-on's, pull-off's, finger tapping, etc...). 

One of the best things a teacher can do is create a list of solo's from songs that students can learn. These solos should be from basic to complex and build upon skills students have already have or will be learning. For example, The Beatles song And I Love Her (solo starts at 1:29) has a simple but effect guitar solo which incorporates a "slide" from one note to another. Students will then not only learn a guitar solo, but learn how to incorporate a practical technique as well. 

If you have suggestions for solos that you teach your students at various levels I'd love to hear about them. Send over your list and I'll post them for everyone. 

Send your list to: theguitarteachingblog@gmail.com 

   

Minor Pentatonic Scales, pt. III - Beginner Licks

Last month I discussed the Minor Pentatonic scale pattern. This month I've created 4 simple guitar licks utilizing the A minor pentatonic scale pattern. Try these simple licks with your students and then have them begin to create their own! Download the licks here. 

The Pentatonic Scale, pt. II - scale fingering patters

 Last month was the first in a series of posts regarding the pentatonic scale and this month I'll continue by delving into fingering patterns. 

It may be a bold statement, but I would venture to say when most guitarists are first introduced to the pentatonic scale through the minor form. The minor pentatonic scale uses five scale tones which can be extracted from a major scale (see last month's post). As an example we will be using A minor pentatonic: A C D E G. 

                        A.                                                                            B.

The five notes of the scale are generally expanded over two octaves spread across the six strings (diagram A). Following "the one finger per fret rule" the fingering pattern of those notes are indicated in diagram B. Many students are introduced to the scale using only the fingering pattern, but students should understand that the finger patterns are not arbitrary! The fingering pattern is used because that's where the notes of the scale are! 

Click here to get a PDF copy of the minor pentatonic scale pattern complete with notation and tab.

Next month I'll explore simple licks students can use to start soloing.  

 

The Pentatonic Scale, pt.I

For many guitarists learning how to solo is a benchmark of their playing level and for others a scary proposition! When most guitarists begin learning to solo they utilize a pentatonic scale. A pentatonic scale is a five (penta) tone (tonic) scale of which there are two types - major and minor. I would venture to say the vast majority of guitarists use a minor pentatonic scale as it often employed by blues and rock guitarists to great extent. 

A minor pentatonic scale can be extracted from it's parallel major scale using a simple number scheme: 1 b3 4 5 b7. For our current purposes we'll relate it back to an A major scale.

               A Major:      A   B  C# D  E  F# G# A

                                    1    2   3   4   5  6    7   8

A Minor Pentatonic    A        C   D  E       G   A

                                    1        b3   4  5       b7   8

So in order to "create" an A minor pentatonic scale (A C D E G A) the number scheme is applied. The 1st, 4th and 5th notes remain the same (as well as the 8th/octave) - while the 3rd and 7th notes are flatted (b3, b7) from the original sharps - C# becomes C natural and G# becomes G natural. 

Next month we'll talk about common fingering patterns that are used for these scales!

Transcribe!

A number of years ago I was fortunate enough to attend a music workshop hosted by the renowned guitarist Jennifer Batten called "Self-Empowerment for the Modern Musician." It was a wonderful workshop where Jennifer discussed everything from building a personal brand to practical information on domestic and foreign touring.

It was during the workshop that Jennifer talked about the music software Transcribe! - the software that she herself uses to transcribe music. Transcribe! is an amazing powerful tool that can help you with your teaching; not only for transcribing songs but even slowing them down without changing pitch so that students can play along with faster songs or passages. If you are interested in Transcribe! check out Jennifer Batten's tutorial.

You can purchase Transcribe! at a cost of $39 for either Windows, Mac or Linux. Happy transcribing!

Moveable Power Chords, pt. VII – Examples in Music

In last month’s post I a shuffle rhythm to closed power on the 6th string. This technique is easily found in blues music, but can be readily found in rock music and is a must for students to master; whether actual shuffle feel or the straighter version that can be found in rock. 

For teachers wanting students to apply this technique, one must look no further than simply plugging the rhythm into basic 12 Bar Blues. There is no harm in having students work through a 12 Bar Blues using only chords on the sixth string; in fact it is extremely helpful for students to learn to the move vertically on a single string. Additionally, it will help students memorize notes on that particular string. Furthermore, with slow and consistent practice students will develop smooth shifting technique between small and large fret movements.

For practice using a straight shuffle rhythm, there are plenty of rock songs that incorporate the technique/rhythm into either whole or parts of the song. Plus, for more focused practice teachers should not be afraid to take “liberties” with the song and change all the chords to a single string (in this case all chords are on the 6th string). Below are some examples of rock songs by the Chuck Berry who some say “invented” the straight shuffle rhythm.

· Johnny B. Goode

· Deep Feeling

· Rock ‘n’ Roll Music

· No Particular Place to Go