Left Hand Technique (Bass / Guitar)

LEFT HAND TECHNIQUE

A. HAMMER ON (H)

This technique is played by the left finger tapping on the fret board, sounded the right index finger and then with the left hand first finger is still pressing on the fret board, the other left hand fingers hit the fret board (with a higher tone) without pronounced with right index finger.
The symbol of this technique is the "H".
Below is an exercise of the Hammer On.

--- | - 1 - | --- | - 3 - | --- | ---- strings 1
--- | - 1 - | --- | - 3 - | --- | ---- 2 strings
--- | - 1 - | --- | - 3 - | --- | ---- 3 strings
--- | - 1 - | --- | - 3 - | --- | ---- 4 strings

Train strings sequentially starting from 1 up to 4 strings. Then down again to the string 1. Train with a slow tempo first. Then the tempo is brought forward. How quickly the tempo of your day, try to even faster tomorrow. Here is a form of fingering can be trained:
1: finger
2: Central
3: Sweet
4: little finger

Training with a combination of finger:

1-2 2-3 3-4

1-3 2-4
1-4

2. PULL OFF (PO) 

This technique is the opposite of the Hammer On technique. Press the strings with fingers left: middle, or a little sweet (written with blue numbers). Then sounded, then the first left finger is lifted and the second left fingers press the strings with a lower tone is sounded again without the right index finger (written with red numbers).

--- | - 1 - | --- | - 3 - | --- | ---- strings 1
--- | - 1 - | --- | - 3 - | --- | ---- 2 strings
--- | - 1 - | --- | - 3 - | --- | ---- 3 strings
--- | - 1 - | --- | - 3 - | --- | ---- 4 strings

Practice with a combination finger on the left as exercises Hammer On.

3. HAMMER ATTACK (HA).
This technique is played by pressing a finger on the fret board with the left-enough energy to produce a tone is sounded by hand without the right. Train your fingers to combine your left until your left hand to feel quite tired.

4. HAMMER CROSS.
Use your left finger to press the fret board, then sounded the right index finger (written with blue numbers), then the second left finger ring the other strings with Hammer Attack techniques (written with red numbers).

--- | --- | --- | - 3 - | --- | ---- strings 1
--- | --- | --- | --- | --- | ---- 2 strings
--- | - 1 - | --- | --- | --- | ---- 3 strings
--- | --- | --- | --- | --- | ---- 4 strings
Train your fingers to combine, with different strings, and then try to run toward the chromatic bass body.

5. SLIDE (/ s)
This technique is used by the left finger pressing a note on the fret board, then sounded the right index finger, then the left finger (while still pressing the strings to the fret board) is shifted towards the body or toward the head in accordance with the intended tone.

--- | --- | --- | --- | --- | ---- Strings 1
--- | --- | --- | --- | --- | ---- 2 strings
--- | --- | --- | --- | --- | ---- 3 strings
--- | - 1 - | --- | - 3 - | --- | ---- 4 strings
======>
S

6. Vibrato
This technique is played with one finger to press the strings to the left of the fret board and sounded, then the string is bent vertically upward and down repeatedly with rapid. The resulting sound is the sound of the waves.

7. Vibrato SHAKE
This technique is played by the left fingers press the strings to the fret board and sounded, and finger plays slide techniques to the right out of the first fret then slide back into the first fret and then out to the left of the first fret. This process is done quickly and repeatedly. The technique is good when played solo with the Blues scale.

8. BEND
This technique is played by the left fingers press the strings to the fret board and sounded, then the finger to bend the strings to the head or toward the feet while holding down the strings. This technique is easier to do when the three left fingers press the strings are equal then bend them. Easier if done with the left thumb and three fingers gripping the neck press the strings are equal then bend them. The result is the first tone will rise to semitones or even whole tone.

9. Thrill
this technique is played by Hammer On technique and the technique alternately Pull Off quickly. Right index finger only once rang the strings. You must find the right moment to do this technique. The resulting sound is the voice fluctuates rapidly, giving rise to a wave effect.

10. Harmonic
the technique is done by attaching (without pressing) the strings at certain points on the fret board. In order to obtain a clearer harmonic sound, place your right hand closer to the bridge. The technique is much in use to tune- bass strings. Can also be played on a bass solo moments.

11. Barring
the technique is performed by pressing a few strings by using only one finger. (Usually combined with a double stop or raking techniques). This technique is useful to speed up the fingering in playing a bass line.

12. MUTE LEFT HAND
This technique is useful to stop the sound by placing the fourth finger of the left to the fret board without suppressing it, so just touch it.

13. GHOST NOTE LEFT HAND
The technique is performed by index finger across the three strings with the touch without pressure, then the third left finger slap to the four strings without producing a tone. A tone will create a tone that is just dead (dead note / ghost note).

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Learning Bassline Technique

Bassline is one of bass technique that underlies the bass chord accompaniment and rhythm of a song.

Rhythm section is one part of the band (combo), which also determines the type rhythm / rhythm being played. They consist of drums, bass, piano / guitar. Piano / guitar also called chordal section.

Build BassLine

In building a bassline, played the most important notation is basic notes (root) of the chord itself. After that to support the basic notes, we can use the fifth tone of the base note, in this case are the tones 'Sol'. As an example we are playing in C major chord, then the basic notes are C, and fifth tones (sol) is G.

An example is like this:

C C F F

| C. G. | C. G. | F. C. | F. C. |

In the swing we would often play 4 tones with a value of ¼ in a bar like form below :

C C F F

| C C G G | C G C G | F C F C | F F C C |

Development of the above forms can be done in the following way:

1. Approach Trinada

Trinada or so-called Triad of a chord is the tone that the builders of a chord. Tone (in major and minor) consists of:

• 1 (do) as root / basic tone of the chord.

• 3 (mi) if the major and 3b (ri) if the minor, as third tone/3rd or determining the nature of the chord if the chord is major or minor.

• 5 (sol) as the fifth tone of the chord.

For example, the form becomes as follows:

C F C F

| C E G C | F A C F | C E G C | F A C F |

2. Arpeggio approach and Broken Chords

Arpeggio is a tone which consists of a chord in which the tone is played individually or sequentially. Named Broken Chords if played in no particular order.

In addition there are arpeggios trinada describing the tone of the extension or the quality of the chord so that explains the full chord.

For example in the C7 chord arpeggios it is 1     – -     3   –   -   5   -     7 b    .

From the example above can build a pattern bassline, one of them is as follows:

C F C F

| C E G Bb | F A C Eb | C E G Bb | F A C Eb |

3. Approach with semitones

Semitones or so-called half tone / tone that have a ½ intervals.

To my menus to the next chord we may also use or combine movements * chromatic chord towards the goal.

For example, combines with the movement of Chromatic Triads are as follows:

C F C F

| C E G Gb | F A C (B) | C E G Gb | F A C (B) |

Semitones

4. Interval Bassline (General Form)

In progress displacement chord in swing bassline commonly used form of intervals as follows:

Major = WHH (Whole - Half - Half) or intervals of 1 - ½ - ½.

Minor = WHHH (Whole - Half - Half - Half) or intervals of 1 - ½ - ½ - ½.

For example there are the following forms:

C F A-D-

| C D D # E | F / / / | | A B C C # | D E F F # |

From the above theory, let us try to apply the 12 Bar Blues Swing Progress in C.

Here's the form:

| C7 / / / | F7 / / / | C7 / / / |% / / / |

| F7 / / / |% / / / | C7 / / / | E-7 / A-7 / |

| D-7 / / / | G7 / / / | C7 / A-7 / | D-7 / G7 / |

^ ^ Good luck ^ ^

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Tapping Electric Guitar technique

Various ways of playing the guitar, either acoustic or electric guitar. Not long ago young musicians Indonesia look stunning with his guitar.

Playing acoustic guitar can be done in ways such common Flamenco, Pop and Classic. Not much different to play on electric guitar.

The difference in electric guitars, guitar sound should wear additional noise amplifier (amplifier). Because the electric guitar does not have space to accommodate the acoustic resonance Stringed (string) guitar.

How to play guitar with style "Tapping" is, Stringed not picked as usual, but a knock Stringed use your fingers directly. On the electric guitar is very sensitive to touch on Stringed.

From the sensitivity Stringed that thrill "spool" electrically, making it more attractive tapping technique on the use of electric guitars. Is the acoustic guitar can also be done this way? Yes, acoustic guitar could just not as loud (loud) on electric guitar.



World-class guitarist who often plays guitar with Tapping attractions there include the name Eddie Van Hallen, Steve Vai, Paul Gilbert, Andy James and Balawan of Indonesia'spioneer style tapping in Indonesia.

To see how this musician plays his guitar can be seen in YouTube, Google, Yahoo and MSN to write the word "Tapping Guitar"

That my friend, with my fingers do not normally post-surgery forced me to re-learn to play guitar with tapping this way. For the same pal who is interested or concerned with this guitar technique... Let us share.

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Arpeggio Techniques

Arpeggio
Arpeggio is a combination of tones that gradually and sequentially rung, which is formed by a particular chord.
Tips for practicing arpeggios should we pay attention to the accuracy of tone, picking technique, the position of the finger. remember to start training with a tempo that is until you become accustomed to and then speeding up the tempo little by little, if you just rely on the speed of the left hand fingers and not supported by picking an accurate then the result would have sounded notes are not clear, therefore the key is synchronization your left hand fingers with your picking. Start the exercise with a slow tempo, focus for the accuracy of the first tone.

Ex.1 Arpeggio descending

in this exercise we will use 4 Dmaj chord, Em, F # m and Gmaj, Dmaj chord we're going to do with the sequence of arpeggio tone DF #-ADF # (Dmaj) EGB-E'-G (Em), F #-AC #-F # '-A' (F # m), GDB-G'-B '(Gmaj).

Em Dmaj
---------------- 2 ------------------------- 3 ------- ---
------------- 3 ----- 3 ------------------- 5 ----- 5 ---- ---
--------- 2 ----------- 2 --------------- 4 ---------- 4 - ---
------ 4 ---------------- 4 ---------- 5 --------------- -5 -
--- 5 --------------------------- 7 ------------------ ---
-------------------------------------------------- ---

Gmaj F # m
---------------- 5 ------------------------- 7 ------- ---
------------- 7 ----- 7 ------------------- 8 ----- 8 ---- ---
--------- 6 ----------- 6 --------------- 7 ---------- 7 - ---
------ 7 ---------------- 7 ---------- 9 --------------- -9 -
--- 9 --------------------------- 10----------- ------- -
-------------------------------------------------- ---


Ex.2 Arpeggio ascending


---------------- 2 ---- 5 -----|----- 7 --- 5 ------------ -----
-------------|----------- 5 ------------- 3 ---------- -----
-----------------|--------------- 4 --------- 2 ------ -----
--------------------|------------------ 5 ------ 4 --- -----
--- 5 -----------------------|--------------------- 7 -----
---------------------------|---------------------- -----



---------------- 10 -----|---- 5 ---- 9 --- 7 ------------- ----
---------- 8 ------------- 7 -------------|----------- -----
-----------------|--------------- 7 --------- 6 ------ -----
--------------------|------------------ 9 ------ 7 --- -----
--- 9 -----------------------|--------------------- 10 ----
---------------------------|---------------------- -----


Simple Classic Ex.3 Arpeggio


~ ~ ~
-4 - 1 -------- 1-4 - 7 --- 4 -------- 4-7 --- 10-7 -------- 7-12 ----
------- 3 --- 3 ------------- 6 --- 6 -------------- 9 ---- 9 ----------
--------- 4 ----------------- 7 ------------------ 10 --- ---------
-------------------------------------------------- ----------
-------------------------------------------------- ----------
-------------------------------------------------- ----------

After Studying arpeggios above technique, try to train chord arpeggios with other positions with the aim of expanding knowledge, and the position of the finger. Purpose of studying the arpeggio technique is to achieve finger skills, accuracy of tone, and amazing speed as the guitar god who became our idol. But I remind you that you exercise gradually and regularly in order to get a good basic game first. Happy Practicing!

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Blues Scale

The contents of the Blues Scale are similar to the contents of Minor pentatonic. The difference is the "b5" is usually called the Blue Note. So the contents of the Blues Scale are 1 - b3 - 4 - b5 - 5 - b7. Blues Scale can be used as a Bass Line or used to create a melody (solo).


In addition to the rhythm of Blues, Blues Scale is commonly used also in the shuffle rhythms, Rock, Gospel, R & B, etc... Blues is the foundation of Jazz music. So the blues scale is also sometimes can be inserted in the jazz game.


Below is an example of the Blues Scale fingerings.


|---|- 1 -|---|- 3 -|---|---|


|---|- 1 - | -2 - | -3 -|---|---|


|---|- 1 -|---|---|- 4 -|---|


|---|---|---|---|---|---|

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Minor Pentatonic

Minor pentatonic played a lot at the Rock and Blues style. But by not limiting the creativity, we can also play a minor pentatonic in other genres (some other styles). Actually we know and train with the forms (modes) of the major pentatonic, and then automatically we have to know the minor pentatonic. When we play a D minor pentatonic, then we may just play the major pentatonic from F.

Since D is the natural minor of F, then the D minor pentatonic (DFGAC) with the F major pentatonic (FGACD) have content similar tones. So I feel no need to describe the fingerings of the pentatonic Minor.

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Major Pentatonic

Pentatonic means five-tones. Penta = Five, tonic = tones. Major pentatonic is often in use in a wide range of styles. Be it in the rock, blues, funk, etc. Major pentatonic commonly used in the major or the major seventh chord. 

The contents of this Major pentatonic are: 1 - 2 - 3 - 5-6 

below is the fingering of the pentatonic in the key of C Major with the five modes. 

Mode 1 

||---|- A -|---|---|- 4 -|---| 

||---|- A -|---|---|- 4 -|---| 

||---|---|- 2 -|---|- 4 -|---| 

||---|---|---|---|---|---| 

Mode2 

|---|- 1 -|---|- 3 -|---|---| 

|---|- 1 -|---|- 3 -|---|---| 

|---|- 1 -|---|- 3 -|---|---| 

|---|---|---|---|---|---| 

Fret: 5 6 7 

Mode 3 

|---|- 1 -|---|- 3 -|---|---| 

|---|- 1 -|---|---|- 4 -|---| 

|---|- 1 -|---|---|- 4 -|---| 

|---|---|---|---|---|---| 

FRET: 7 8 9 10 

Mode 4 

| -1 -|--|---|- 4 -|---|---| 

|---|- 2 -|---|- 4 -|---|---| 

|---|- 2 -|---|- 4 -|---|---| 

|---|--|---|---|---|---| 

FRET: 10 11 12 

Mode 5 

|---|- 1 -|---|- 3 -|---|---| 

|---|- 1 -|---|- 3 -|---|---| 

|---|- 1 -|---|---|- 4 -|---| 

|---|---|---|---|---|---| 

FRET: 12 13 14 15 

Train all modes of Major pentatonic in all the basic tones (12 keys). Train by ascending (from lowest tone to a tone higher) and in descending (from the higher tone into a lower tone).

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Minor Scale Guitar

After we discuss the major scale, now time to discuss minor scale, if the characters are at a distance of major scale tones 1 to 3 are two tone and each 1 tone or 2 frets on the guitar, then the characteristic distance that a minor is a half tone! tone interval to 1 second in a tone to be 1 or 1 / 2. while the second tone with the 3 is 1 / 2 or 1. 

distance from the provisions of this tone then the minor scale has several scales, each scale has the character and composition of different intervals, and this minor scales:

NATURAL MINOR

1-1/2-1-1-1/2-1-1 tone pattern arrangement, compared to the major patterns differ in tone to the 3, 6, and 7 major scale please see the previous post.

Harmonic MINOR

harmonic minor scale pattern is 1-1/2-1-1-1/2-1 1/2-1/2, compared to the major scale, the difference in addition to the ringing tone to 3 is to 6.

Melodic MINOR

tone spacing to 6 and 7 are in a sense too far on the harmonic minor, could be overcome with a little melodic minor, this is because the rising tone to 9 with 1 / 2 tone, and tone scale is 1-1/2-1-1 -1-1-1 / 2.

that the various minor scales, the learners about the music will still be continued, diligent, industrious visiting this blog, yes, and remember do not hesitate to ask questions and comment on your comments helped me to continue to improve this blog.

thank you ....

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Accidental Symbols

Accidental symbol (sign accidental), according to its function consists of:

Sharp / sharp (#)

Sharp or sharps denoted by the # sign

½ serves to raise the tone.

Example: C increased ½ ringing tone to tone C # (C sharp / C sharp)
½ F increased tone to F # (F sharp / F sharp)


Flat / Mol (b)

Mol denoted flat or with the sign b

Serves to lower the tone ½.

Example: G tone to tone down ½ Gb (G flat / G mol)
B ½ tone down the tone Bb (B flat / B mol)

Natural (  )

Natural denoted with sign (  )

Serves to restore the natural tones that have been hit by sharp or flat to its original tone.

Example: A # tone marked become Bb
Eb tone marked the tone D#

Sharp Double / Double sharps (x)

Sharp or Double sharps denoted with sign x

Serves to raise a tone.

Example: A raised a ringing tone to tone B
D raised a ringing tone to tone E

Double Flat / Double Mol (mm)

Flat or a Double with a bb Mol denoted

Serves to lower a tone.

Example: B revealed a ringing tone to tone A
G tone down a tone to tone F

In a sign of the terms contained Enharmonic accidental.

Enharmonic is a different writing on the same tone.

Example: C #, also called Db
Ab, also called G #
B, also called Cb
F, also called E # 

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Guitar Modes

Modes is a series of tones, such as scales or scale, there are seven kinds of modes are Ionian Mode, Dorian Mode, Phyrgian Mode, Lydian Mode, Mixolydian Mode, Aeolian Mode and the last one Locrian Mode . It would be easier to understand the modes when starting to see the major scale , for example see the C Major scales. Scales in C Major from the C note and ends on the C note 'within an octave higher by applying a step pattern Major scales, 1 - 1 - ½ - 1 - 1 - 1 - ½.By looking at the notes that exist in C major scales, then the tones that are members of the C Major scales are C - D - E - F - G - A - B - C '. Then what is the relationship with the major scale Modes?, Good question, when you play C Major scales by starting from the tone of the C to C 'means you're playing the Ionian Mode, yes, the C Major scales the same as C Ionian, meaning that the pattern of step Ionian Mode similar to the pattern of Major-step scales. What about the other modes?.

Still from the viewpoint of the C Major scales. How Modes another form by using the C Major scales?, If the previous C Ionian scales are the same as the C Major Dorian Mode is for you can start from D to D 'is D - E - F - G - A - B - C - D. Then to form the Phyrgian Mode you can start from E to E ', E - F - G - A - B - C - D - E. To learn more you can note the following illustration.

Then what is important from Guitar Modes, yet just different starting point of his course? 

If you notice, the above modes are divided into two categories, partly into the category of minor scales and partly into the category of Major scales. Dorian Mode, Phyrgian mode, Aeolian mode andLocrian Mode into the category of minor scales as interval from root (1st) to the third (3rd) is aminor third (m3) or 1 ½ tones. While the Ionian Mode, Lydian Mode Mixolydian Mode and into the category of Major scales because the interval from the root (1st) to the third (3rd) is a Major Third (M3) or two tone. 
You've captured the point? if not, the sub-topics will further clarify the meaning and the important benefits of Guitar Modes.

Perspective Guitar Modes

If you play a chord backsound C Major, where you'll play a melody on his guitar? Then if you play a chord backsound C minor, where you'll play a melody on his guitar? 
For the C Major chord backsound you must use the C Major scales when you play the guitar melody, and to backsound course you play a C minor scales C ♯ minor or D Major for guitar melody. No one if you play the melodies before, but eventually you'll be wondering is there any pattern other than this melody with the same backsound because you may get bored with the 'feel' that it's all from a combination backsound and melody that you played. Guitar Modes is the answer! How? Let us further explore. 

Of the two categories (minor mode and the mode of Major) who distinguish seven modes actual guitar you can explore further, if it was a C Major chord backsound you only play the pattern C Major scales up here so you can play C Lydian or C Mixolydian, which means that also the C Major chord backsound you can also play a melody with scales F Major or G Major. Fals? no! you can try it and began to feel the difference in the character combination backsound and melodies that you play. 
How about backsound C minor? With backsound C minor you can play the melody with the C Dorian, C Aeolian Phyrgian and C or in other words with backsound C minor you can play the melody with the tones A ♯ Major, G Major and D ♯ ♯ Major, please try. 
What about C Locrian Mode? This mode can be played with backsound or Cm Cm7-5-5, here you must already know the reason.

Backsound chords used in this video is B5 or B power chord. No accent or a minor chord with a Major in the category Power Chord so that exploration has become more open because you can play all the guitar modes or even blues scale though. No accents sound major or minor chords that 'interfere' exploration of your melody.

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Major Scale

Music divides the octave in 12 steps, each one is called a semi-tone steps. On the keyboard or piano division is seen in the number of keys that exist within a single octave of 12 keys which consists of seven white keys and 5 black keys. On the guitar fingerboard is also seen that an octave is divided in 12 fret, one fret each step with a semi-tone or half tone and step two frets is called a tone or a single tone.

All the major scale has a range of semitones from 3rd to 4th (Mi to Fa) and from 7th to 8th (Si to 'Do'), so if you will play a major scale in one string then from the first fret you press should have step two fret - two frets - fret one - two fret - two fret - two fret - a fret or 1-1 - ½ - 1 - 1 - 1 - ½. In the C Major scales, patterns of this step produces a collection of tones without the sharp and flat, which means it is also only the white keys on a piano that form the C Major scales. With the same pattern scales G Major has one sharp, F Major scales have a flat, the picture that is easier on the many sharp and flat in a gamut described in other parts of this website.

Tone C Major Appliances

Tone G Major Appliances

To play a G Major scales, you have to start from the tone and then do the G major scale according to the pattern, automatically 7th tones (Si) is F #, so in G Major scales there is no tone F.

The tone pattern Fingering Major Appliances - Major Scale Pattern fingering

The above example is how to play a major scale by using a string and a sample is used only as an illustration of the major scale pattern. In actual practice you are required to master the game of major scale pattern all over your guitar fingerboard, moving from one string to another string and fret from low to high FRET or vice versa. Here are three basic patterns fingering major scale, the first with the rootor fundamental tone in the string number 5, then root on string 6 and root number in the string number 3.

Major scales with root on a string of number 5. You can choose from anywhere in the string fret number 5, use one finger per fret rule or one finger per fret. In this figure mark the number 1 is the index finger, number 2 is the middle finger, ring finger is number 3 and number 4 is the little finger.

Here is fingering for the major scale with the root or fundamental tone in the string of number 6.Again, you can start from anywhere in the string fret number 6.

And next is fingering major scale with the root or fundamental tone in the string number 3. You can start from anywhere in the string fret number 3, and do not forget to use one finger per fret rule.

If you've mastered the patterns fingering Major scales above then you can explore further by combining the above three patterns like you see in the picture below.

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Learn to Play Basic Scales on Guitar

Scale on the guitar playing method is very important reasons:


1. Scale of adequate skills will enhance the ability and strength in your fingers to play guitar.

2. Scale plays will help train the hearing or your instincts to understand or master the fine combination of notes or melodies on the guitar.

3. Proficiency Scale within the play will be very useful to a guitarist in the air-even in the creation of improvised songs.

There are 5 basic scale forms that must be acquainted with you and you should practice every day. Try the various positions on your guitar frets, but I suggest it is best around the 5th fret. Try to improvise a melody when you start to master a scale.


Once again I emphasize that, play the scale can be done at any fret on the guitar. For example, the first note you are playing on a scale such as the string-6 (E) FRET to-5 (A)will be the name of the scale of "A-Major Scale".


If you start it (not first) on the 6th string (E) 3rd fret (G), then it would be a "G-Major Scale".


Begin by learning a scale just prior to a beginner, do not learn much at the same time scale, as this will embuat you sick and tired. Try the sequence Scales suggested below, start with the Major Scale.


Once you are fluent or less smoothly deh may also play a scale, then try a combinationPicking (pick) as below:

1. Pick 2 times on each note, do the excerpts up (towards picking up) & down (towards the bottom pick), begins with a passage down (down) on the first note. Try pickingyour movements as small as possible so that movement of the picking fingers so effective.

Movement of your left fingers you should also try to be effective, that is not too far or too rigid to be of the next note you played. Do this repeatedly until your fingers become graceful dancing on your guitar.

2. Further quotes 3 ​​times on each note of the scale by the same method had been dropped and picked up (the Down and Up Picking).

3. Then pick 4 times on each note of the scale by the same method had been dropped and picked up (the Down and Up Picking).

4. Pick a time to each note, but do excerpts Down & Up. Down in notes 1, Up in the notes to the 2, Down in the notes to the third and so on. The mistake that I often encounteron pegitar autodidact is just strum down on the same string. 

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Fret Guitar Diagram

After knowing how to Tuning / Tala / Stem guitar string, so now we will start learn to recognize the tone - the tone on the guitar fret. In addition to the diagram, towards the right (column) is the strings, while the bottom (line) is the fret. For example: Open String string to six is the tone E. By pressing the string on a fret to the first six it will produce a tone F. Note, the pattern of repetitive tones ranging from 12 fret each string, but the difference is tone up an octave. It would be better if we really knew each note. Diagram of this tone is a tone-tone standard tuning on guitar frets, 6 strings, 24 fret electric guitar. In the market many outstanding guitar with various the amount of FRET, depending on taste, we are free choose between the guitar has 22 frets or 24 fret. But I personally tend to prefer guitar has 24 fret, because I have a wider range of tones.

The tone at fret runs Chromatic. Each fret on the fretboard is worth half a tone,
for example we are strumming the open strings (Open Strings) in a pitched E string so when we
pressing a fret and strumming six strings will sound the tone F, FRET two tone F # and so on G, G #, A, A #, B, C, C #, D, D #, E. ExceptB and E all have a tone or a sharp sign # (sharp) due to E to F and B to C within a half (half step) while the other tones like-A to B or Fto G is a tone (whole step).


By studying the diagram of tone on the guitar fret it will be able to greatly assist us in practice,
learn scales (scale), and improvisation at the time of jamming.

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Tuning Guitar ( Stem Guitar )

Before we move on to the next matter, it helps us to know first how
for Tuning / Tala / tuning the guitar, because without a guitar tuned and positioned at
Stem the game or we would sound discordant (fals).

Tuning is the process of determining the frequency standards and align the frequency of inter-string
on a stringed musical instrument eg guitar. On the guitar this process is done by adjusting the tension
string through the player (Tuning Peg) in the head (Head) guitar. Standard tuning on the guitar is EADGBE,
to obtain a standard frequency such as A can be used as a benchmark of a tuning fork A or
with other instruments. The easiest and most practical to use an Electronic Chromatic Tuner.

Step-by-step tuning guitar (Manual / With Fork Tala) 

Tala A Fork Ring tones 440 Hz and stick the handle on the guitar body so that the tone A.
Press fret 5 string 1 (thinnest) equate the tone, if not, tighten / loosen the strings.
Pick again to check whether the tone is the same or not.
After getting the same vein, then pick the strings one without pressure (Open Strings).
simultaneously picking 2 strings at fret 5, equate his voice.

Pick the string 2 without pressure (Open String) and then picking the string 3 at fret 4 equate his voice
Pick 3 without strings pressed (Open String) and then picking the strings on fret 4 5 equate his voice
Stringed stringed 4 without pressure (Open String) and then picking the strings on the fret 5 5 equate his voice
Stringed stringed 5 without suppressed (Open String) and then picking the strings on the fret 5 6 equate his voice

Tuning is completed.

The weakness in this way the possibility of irregularities in the tone of the strings 3,4,5, and 6
because the strings are not directly aligned with the string 1.
Step above is very easy, but for a beginner guitarist tuning guitar manual
may be a bit difficult to work
but it can be overcome with diligent practice tuning so that it knows
how does 2 pieces of string sound that sounded the same time it has the same tone,
but it can also be used to train our hearing about the characteristics of tones.

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