Category Archives: Lessons

Guthrie Govan’s Freadboard Tapping – Tapper’s Delight

Tapper's Delight: 20 Tapping LicksGuthrie Govan guides you through 20 challenging tapping licks!

Fretboard tapping has earned a bad name in certain sectors of the guitar community. Some players dismiss it as a technique suitable only for perpetrating the worst possible kind of overblown, unmusical histrionics, preferably played through a wall of amps that “go to 11.”

If you feel that way, then you probably haven’t even managed to read this far. But for those of you who are still undecided about tapping, I would urge you to view the technique simply as an easy way to play notes you could never reach otherwise. If you think of your tapping fingers as extensions of your fretting hand, you’ll find it easier to imagine how this technique can benefit virtually any style of playing.

Track Record

In the world of rock, Van Halen’s self-titled 1978 debut album heralded a tapping craze that soon caught on like wildfire. In the years following the album’s release, gifted guitarists such as Randy Rhoads, Joe Satriani and Steve Vai used the technique in their own landmark recordings. If you want to hear tapping taken to new heights of invention, check out Freak Kitchen by Mattias Eklundh and Normal by Ron Thal (a.k.a. Bumblefoot).


For tapping, many players opt to use their guitar’s bright-sounding bridge pickup and a heavily distorted, or at least overdriven, tone, which serves to compresses the dynamic (volume) range of the electric guitar’s signal, amplifying the quieter notes and increasing sustain, although players like Stanley Jordan manage to tap with a very clean, neck-pickup sound. When tapping with a clean tone, you’ll find that a compressor can even out dynamics and add sustain.


Most tapping is performed on one string at a time using either the middle or index finger of the picking hand, depending on if, and how, you’re holding a pick. Some players will momentarily tuck the pick into their palm or cradle it in the crook of one of their knuckles when they go to tap and maneuver it back into its normal position (typically between the thumb and index finger) when they go to pick again. This magician-like sleight-of-hand can take a bit of practice to attain, and for this reason many players prefer to just keep the pick in its normal place and tap with the closest available finger, typically the middle. Experiment and use whichever technique works best for you. Eddie Van Halen holds his pick between his thumb and middle finger and taps with his index finger, and Rhoads tapped with the edge of his pick, which produces a very distinct articulation. (Listen closely to Rhoads’ classic solos in Ozzy Osbourne’s “Crazy Train” and “Flying High Again” to hear the subtle difference in his tapping attack.)

Your speed and proficiency will increase if you minimize your movements and keep all relevant fingertips close to the strings when not in use so that they never have far to go at any given time. Depending on whether or not you’re holding a pick when tapping, you may find that resting, or “anchoring,” the thumb or heel of your tapping hand to the top side of the fretboard helps stabilize and steady the hand and increase the accuracy of your tapping movements.

The easiest way to train the fingers of your tapping hand is to learn from the way you perform hammer-ons and pull-offs with the more experienced fingers of your fretting hand. The following principles hold true for both hands:

• If you’re hammering a note, the force of your hammering motion will dictate its volume. The harder you hammer/tap, the louder the note.
• If you’re pulling off to a note, its volume is a function of how far you flick the string sideways (either toward the floor or ceiling) with the finger responsible for fretting the preceding note. This sideways flicking, or pulling, motion actually serves to pluck the string again and is what keeps it vibrating. If you were to just lift the finger directly off the string, the following note would be weak and barely audible. (Note that when tapping with a pick, the “pulled-off” note tends to be louder than normal due to the pick’s hard surface striking the string.)


Distortion amplifies the sympathetic vibrations of unfretted strings. When tapping, you should make a concerted effort to dampen any idle strings with various parts of both hands, something that requires a bit of practice and experimentation to figure out and master. To that end, many players will place a piece of foam or fabric against the strings in front of the nut. In addition, a cheap elastic-core hair tie stretched over the headstock and positioned over the fretboard is convenient for damping the open strings.

If you’re new to tapping, allow your fingertips time to toughen up and develop the necessary calluses. Hopefully, the rest will become clear as we go. We have a lot of licks to look at in this lesson, ranging from classic hard rock and metal lines to sequencer-like patterns and bluesy runs to jazzy arpeggios, so let’s dive in.

This is arguably the most versatile approach to tapping. A lick like this could sit comfortably in any rock, metal, blues, country or fusion context without necessarily invoking visions of Eighties-era spandex fashion statements. The recorded performance of this example on this month’s CD-ROM may sound reminiscent of Eddie Van Halen’s tone, but players of diversely different styles, ranging from Billy Gibbons, Brian May and Larry Carlton, have all dabbled in this approach.

There’s a strong argument here for using the middle finger of your pick hand to tap. By doing so, you can retain the pick in its conventional position and easily revert to picking at a moment’s notice. You can improve your accuracy if you anchor the heel of your tapping hand to the wound strings. This will also help mute unwanted string vibration while it allows you to keep a grip on the pick.
One tricky aspect of tapping a bent note like this is that the string moves closer to its neighbor (in this case, the D string), so you have to be extra careful to ensure that your tapping finger only makes contact with the G string. Try to bend the G string with your fret-hand ring finger while you simultaneously push the D string up slightly with the tip of that hand’s middle finger. This can help create more clearance between the two strings and provide a little more margin for error.

The following five examples serve as a great tapping primer, and there’s no other way to play arpeggio ideas like these with the same level of fluidity.

FIGURE 2 presents a classic Van Halen–style single-string triad tapping lick. This is the famous “Eruption” triad. To make this sound effective, the tapping finger must execute a strong pull-off as it leaves the ninth fret, thus ensuring that the Cs at the second fret rings out as prominently as its predecessor. You should also attempt to preserve a strict triplet rhythm, with every note equal in duration and volume.

Incidentally, there’s no single “right” way to execute a pull-off with the tapping finger. Some players prefer to flick the string upward, while others find it easier to flick it downward. Experiment with both approaches to find out which integrates more easily with the natural angle of your tapping hand and allows you to dampen the idle strings more effectively.

FIGURE 3 is a variation on the previous figure. Here, the order of two notes played by the fretting hand is reversed. It’s important that you become familiar with both approaches so that you can move on to ideas like the one shown in FIGURE 4, where the arpeggio goes all the way down and back up again, enabling you to move away from the ubiquitous triplet rhythm and phrase licks in even 16th notes.

Here’s another twist, reminiscent of Van Halen’s tapping licks in “Spanish Fly” and “Hot for Teacher” and Satriani’s “Satch Boogie.” In this lick, the first finger of your fretting hand has to pull off to the open A string, preferably without disturbing the D string in the process. As ever, careful attention to damping and accurate timing of each note are the keys to making this lick flow clearly. To sound the very first note, pluck the open A string with your tapping finger. Once you’ve gotten the string moving, all the subsequent open A notes are pulled-off to with the fretting hand.

FIGURE 6 demonstrates how you can outline a chord progression with triad inversions. Notice how the lick lets you arpeggiate four different chords without moving either hand far from its starting point. This is done by analyzing the component notes of each chord and placing them so that they all fit into roughly the same area of the fretboard.

The tapping sequence is similar to that found in FIGURE 5, but since we’re tapping the highest note twice, the sequence is now six notes long. Players such as Rhoads and Nuno Bettencourt have used this variation to great effect.

This next example isn’t reminiscent of any rock players and is intended to show how you can use tapping to create something a little bit different. If you start by looking purely at the B-string notes, you’ll see that the tapped notes outline a rhythm known in Latin music as the 3:2 clave: if you’re a fan of the bossa nova style, you’ll have heard this rhythm before. In this example, the fretting hand essentially does whatever is needed to fill in the gaps between the all-important tapped notes.

Once you’re familiar with the phrasing pattern, include the notes on the high E string, which adds a harmony to the B-string notes. Try tapping with either your index and middle fingers or the middle and ring (on the B and high E strings, respectively). The trickiest part here is arching your fret-hand fingers sufficiently so that the open E string is not muted by the underside of your index finger. Try to think like a classical player, keeping the thumb of your fretting hand based around the middle of the back of the neck.

FIGURE 8 demonstrates how you can use tapping in conjunction with finger slides to cover a lot of the fretboard in a short amount of time and achieve a smooth legato effect. The note choice here is derived from the A Aeolian mode (A B C D E F G), but you can design similar licks using the notes of any seven-note scale.

At slow speed, it can be tricky to squeeze seven evenly spaced notes into each beat—most of the popular music we hear tends to divide the beat into twos, threes or multiples thereof, so a grouping of seven might sound a little unfamiliar—but you’ll find that this becomes less of a problem at faster tempos. Simply aim to nail each new beat with a tapped note, and you’ll find that the notes in between will tend to distribute themselves evenly as you speed things up.

Here’s an interesting twist on the single-string scalar tapping approach. The first 10 notes look normal enough, but by the 11th you see that the fretting hand has leapt past the tapped note, to the 12th fret to perform a fret-hand tap, also known as a “hammer-on from nowhere.” The tapped note needs to be held at the 10th fret as the fretting hand quickly zooms up to the 12th fret, and you’ll need to be careful to ensure that the two hands don’t collide.

This lick won’t be for everyone, and it’s not particularly easy. On the other hand, it’s a useful approach whenever you’re trying to work out a fingering for something and it feels like you simply don’t have enough strings. This bypassing technique also has a certain flamboyant visual appeal, so it should come as no surprise to learn that Steve Vai was employing it as far back as the early Eighties.

This example is inspired by Bumblefoot. The important part here is the first half of bar 1; the lazy approach would be to play two evenly spaced groups of five, but you get a wholly different effect if you prolong the two D notes (at the 10th and 22nd frets) and squeeze all the other notes into a shorter space of time. If you’re having trouble with the seven-fret stretch here, you could instead play 13-15-16-17 on the first string instead of 13-15-17-20. It doesn’t sound quite as cool to me, but it’s still a great lick.

Regarding the rhythmic phrasing of this lick, in FIGURE 8 we saw how an odd number of notes tends to be distributed evenly throughout a beat as you increase speed. Sometimes, however, it can be fun to resist that tendency and preserve a more distinct rhythmic contour, as we do here. The ear can still identify distinctions between the rhythmic values of the notes even when they are played at ridiculously high speeds.

Here’s something a little more conventional. The idea is to play a blues lick with the fretting hand while highlighting certain notes by tapping them an octave higher. This is somewhat reminiscent of Nuno Bettencourt’s or Mattias Eklundh’s soloing styles.
The most challenging aspect of this lick is that you have to clearly and loudly hammer the first note on each new string with your fret-hand’s index or middle finger. This may feel a little weird at first, given that the index finger spends the bulk of its time acting more like a fleshy capo rather than as an independent hammering digit, so focus on executing the first-finger hammer-ons as cleanly as possible. This will be time well spent, as some of the subsequent licks will require much the same skill.

With regard to the final bent note: your tapping finger’s only role here is to hammer the note and then keep the string pushed down onto the fret while the fret-hand middle finger bends the string. As indicated, hammer the last note in the bar 1 with your middle finger, but once the tapped note has been initiated, there’s no harm in enlisting the fret hand’s ring finger to assist with the bend. As always, do whatever it takes to perform the job with the least amount of effort, pain and intonation issues.

Now for some more Van Halen–style fun. This lick is loosely modeled on a famous lick from “Hot for Teacher,” and it’s based on the A blues scale (A C D Ef E G). As with FIGURE 5, there’s a strong argument in favor of plucking the first note of the lick with your tapping finger. After that, each new string is greeted by a hammer-on, courtesy of the fret-hand’s ring finger. Hopefully you’ll find this easier than the first-finger hammering required in the previous example.

FIGURE 13 illustrates a scalar fingering approach favored by players like Greg Howe (who is featured in this month’s Betcha Can’t Play This, page 32). The fingering doesn’t incorporate any particularly wide intervals, and you could feasibly play the whole of the first two bars using strict left-hand legato, but by using the tapping hand to share some of the work you should be able to get more volume out of the lick while sparing your fretting hand from undue fatigue.

Here’s the downside: the tapped notes often fall in unusual places within the bar (rather than, say, on the downbeats), so this approach may feel a bit unnatural at first. Having said that, Howe’s exemplary playing is ample testimony to what can be done with this approach if you devote some time to it.

Here’s another scalar tapping concept. Most players would simply hammer the first note on each string with the first finger of the fretting hand, but the approach suggested in the tab here is based on the way Reb Beach (of Winger, Dokken, Night Ranger and now Whitesnake) would do it. Reb taps with his middle finger, so for ascending sequences he’ll use the ring finger of his tapping hand to pluck the first note on each new string. This may feel odd at first, but it undeniably gives you more volume and definition, particularly if you prefer not to use a lot of distortion.

If you go to any guitar show or music fair and head toward the “pointy guitar” booths, you’ll hear a veritable army of players churning out the following lick furiously and repeatedly. It’s a simple example of a “sweep-and-tap” arpeggio, which can be viewed in three sections.

Section 1 (the first five notes) involves dragging the pick downward across the strings in a single stroke to outline the first five notes of this C major arpeggio. Ideally, each fret-hand fingertip should relax slightly at the end of its designated note to ensure that only one note is ringing at a time. By moving the whole picking hand downward as you sweep, you should be able to utilize your palm for a bit of extra string damping. High-gain settings are pretty much de rigueur for this kind of lick, so you can never be too careful when it comes to muting unplayed strings with both hands.

Section 2 (beginning with the sixth note) requires that you hammer the G at the 15th fret while bringing your tapping finger into position. The first three notes of beat two should then remind you very much of what we did back in FIGURE 3.

Section 3 involves the last three notes of beat two. You could either sweep these notes with a single upstroke of the pick, or do what most players prefer and use fret-hand hammer-ons while repositioning the picking hand for the next big downstroke sweep on beat three.

Note that most of this lick involves techniques other than tapping, yet that one tapped high C note makes all the difference, adding a pleasingly soft quality to the top half of the arpeggio and contrasting nicely with the more percussive sound of sweep picking.

FIGURE 16 is an example of another approach to playing arpeggios, this one incorporating more taps, plenty of fret-hand hammer-ons and no sweeping whatsoever, resulting in a more fluid sound. Check out shredders like Scott Mishoe to hear this approach in action.
This example marks the first instance in which we’ve encountered a slid tapped note. You’ll find the key here is to slide with authority and to ensure the fingertip is constantly pushing on the string. Otherwise you run the risk of losing the note, particularly as you slide back downward. However, don’t press the tapping finger against the string any harder than is necessary, as doing so will create excessive friction that will slow you down and actually make the tap-and-slide more difficult than need be.

Here’s the same concept applied to a blues scale. Note that this and the preceding pattern are symmetrical, essentially featuring the same shape on each subsequent pair of strings.

This run starts out as a signature Paul Gilbert string-skipping lick, then moves into tapping territory. Musically, all the notes (apart from that pesky C in bar 2) are from a Gm7 arpeggio (G Bf D F), but the overall effect is closer to that of a warp-speed G minor pentatonic (G Bf C D F) blues lick. The slides toward the end of bar 1 span four frets, so they’re a little trickier than the single-fret slide in FIGURE 16, but the principle is the same.

Here’s another arpeggio-playing approach that incorporates string skipping and tapping. Michael Romeo of Symphony X is rather partial to this approach.

If you’re not averse to a bit of fret-hand stretching, FIGURE 20 offers a versatile approach to playing major seven arpeggios. It has the same symmetrical qualities as FIGURES 16 and 17 and incorporates string skipping by cramming each octave’s worth of Cmaj7 arpeggio notes (C E G B) onto a single string.

Five Positions Of The Pentatonic Minor Scale

This lesson will cover learning the five positions of pentatonic minor for guitar and bass. Below you will see the full version of the E pentatonic minor scale, showing where each position should be played in E pentatonic minor on the guitar. You can also see where all of the root notes are on the full diagram of E pentatonic minor.

pentatonic scale key of E

* Note that the positions overlap, for instance position two is simply the top half of position one mated with the bottom half of position 3.

All of these positions fit together perfectly and will always be in the same order that they are here. That means that they must always be positioned together as they are and their relation to each other will never change. To play this pentatonic minor scale in any key other than E, you would have to slide the whole note diagram up or down the neck, moving all the positions together. This will be covered in the transposing scales lesson.

Now that you can see all of the positions and how they work together to form the E pentatonic minor scale, I will show you the individual positions. You will notice that there are no marks on the notes in the position diagrams to show where the root note is as this is not important for the positions. We will find out why this is when we get to the lesson on transposing.

pentatonic scale position 1
Position One
pentatonic scale position 2
Position Two
pentatonic scale position 3
Position Three
pentatonic scale position 4
Position Four
pentatonic scale position 5
Position Five

Now we can move on to start learning how to use this in your playing. The next section is on “phrasing” and will teach you how to play this scale with feeling and start improvising with it.

Introduction To Modes And Modal Theory

Modal theory is something that helps us understand how scales work. It helps us understand the relationship between scales and how they work together as one to achieve the goal. The reason they are called “modes” is they are not actually completely different scales, but rather different “modes” of the same scale. If this is confusing, do not be concerned, just read on and it will be explained.

To start, the names of the modes must be learned and memorized. I know, memorizing things is not everyone’s favorite thing to do and I do try to keep those things to a minimum, but this is essential and must be memorized.

We will start with the major scale, which is also called “IONIAN”. This will be the first mode we learn. The ionian mode (or major scale) is a seven note scale, and therefore has seven modes. The names of these seven modes MUST be memorized and they must be memorized IN ORDER.

They are (in order):

  • Ionian (i-o-nee-in)
  • Dorian (door-e-in)
  • Phrygian (fridge-e-in)
  • Lydian (lid-e-in)
  • Mixolydian (mix-o-lid-e-in)
  • Aeolian (a-o-lee-in)
  • Locrian (lo-cree-in)

It helps to just say them over and over to yourself until you remember them. Don’t forget that they have to be remembered in the proper order. Once you have these seven mode names memorized in the proper order then you can move on to the “key construction” lesson.

Here are some excellent materials that I highly recommend you add to your collection. They can help you gain a better understanding of the modes and music theory.

8 Pentatonic Exercises

Pentatonic scales are a guitarists bread and butter.  They are a must to learn if you want to progress. As the name suggests, a pentatonic scale it a scale with five notes.  We’ll now take a look at whats thought of as the first pentatonic box and discuss some patterns and exercises to practice. You can do these in any key you want.  I’m going to show them in B minor.


exer 1+2

exer 3+4

exer 5+6

exer 7+8

That pentatonic workout should help your technique improve greatly.  If you have any questions please email me at

Alternate Picking Exercises – 9 John Petrucci Riffs to Boost Technique

One form of picking is alternate picking, which is difined by consistant down – up – down – up pick strokes.  One of the best alternate pickers in the business is John Petrucci, famed guitarist of Dream Theater.  Today we will take a look at riffs and lines he has played and use them as exercises to help build good alternate picking technique.  

NEW 7/29/08- 7 MORE John Petrucci Riffs to Boost Technique

1) In the Presence of Enemies Pt. 1Dream Theater

The section starts at 4:24 into the song, although similar ideas are used throughout the song with a few minor changes.  It is an easy alternate picking idea in D Dorian just to get the ball rolling. The time sigs are a little funky but thats the only tricky part of this one.

Click to Enlarge


2) Panic AttackDream Theater

The riff starts at 4:53.  It is not played in standard tuning.  This is a great exercise to practice alternate picking across two adjacent strings.

Panic Attack

3) Universal Mind– Liquid Tension Experiment

The intro to this song is a exercise for alternate picking with string skipping.


4) Gemini- John Petrucci

Sorry, no link for this one.  This is another alternate picking with string skipping exercise.


5)  Glasgow Kiss John Petrucci

This riff looks like it should be sweep picked. But JP uses alternate on it. Learning it will help a lot with alternate picking passages across strings.

Glasgow Kiss

6) Voices– Dream Theater

This next example is used by JP in his book, Wild Stringdom, to explain a practice technique he calls the “Spanish Lap.”

I call it “Spanish Lap” practicing. Here’s how you do it: Play a pattern using nothing but sixteeth notes ( it’s critical that you play to a metronome set at a comfortable speed), and at a specific point, intersperse it with sixteenth-note triplets. Continue util you can play it cleanly; then increase the metronome setting and start over. Of course, don’t overdo it– just play the pattern long enough to feel that you got a good workout. The benefits are twofold: your right hand will gain strenghth (due to repetitive picking of the sixteenth notes), and you’ll start seeing an increase in your speed (it’s a lot easier to master a short, fast lick and build on that). My rhythm part in “Voices” on our [Dream Theater’s] album Awake (3:26 into the song) …. clearly illustrates this approach.

-John Petrucci

from Wild Stringdom p.16


7) Learning to Live– Dream Theater

This very interesting alternate picking part starts at 12:05 into this video. It uses natural harmonics.  If you don’t know how to execute a natural harmonic, instead of fretting the note, you lightly touch directly over the fret wire and pick the note.


8) Erotomania– Dream Theater

This uses some odd groupings of 5. That is the only tricky part.  The section starts at 5:11 into the video.


9) The Ministry of Lost SoulsDream Theater

The final piece I have for you is this unison line.  It starts at 3:33 into the video.  Look to draw on aspects of other exercises to tackle it.


If you can get through all of these, your alternate picking technique will improve by leaps and bounds.

If you have any questions, please email me at

EDIT- I have done a follow up lesson with 7 More John Petrucci Riffs. It can be found here.

Chromazones (12 Tones To Glory) – John Petrucci






12 Tones To Glory

Before Dream Theater took off I used to teach a lot, and one of the things my students often asked me was how to apply the chromatic scale to practical playing situations. You see, their other teachers would give them chromatic warm-up exercises without providing any explanation of how important and versatile this scale actually is. For the next few months, I’d like to show you how to use the chromatic scale, not just as a tool to build chops but as a melodic device to add color to your playing.

FIGURE 1 shows the chromatic scale in the 1st position, beginning on F. Since the chromatic scale is built on consecutive half-step intervals (and therefore contains all 12 tones used in Western music), it has no true tonal center. This means that, used judiciously, it can fit over any chord.

Before you can apply chromatic ideas to scales and arpeggios, you have to get the chromatic scale itself under your fingers. You should learn it up and down the neck, and become comfortable with the fingerings. Here are a couple of chromatic exercises that will build up your technique and get you moving all over the fingerboard. Once you master the technique, applying it will be a lot easier.

FIGURE 2 is a good chops-building exercise. It doesn’t contain all the notes of a -chromatic scale (not every half-step is included), but it has enough chromatic elements to get you started. Practice this exercise with a metronome, using alternate picking. Start at a slow tempo (60 beats per minute) and gradually increase the speed. Since the notes fall in groups of four, you can accent the first note of each string or, as I do, of each measure. I do this because it helps me solidify the time; as a result, my speed and precision improve.


Once you get Figure 2 down, try tackling FIGURE 3. This exercise is great because it gets you thinking laterally along the neck–an invaluable approach to breaking away from position playing. (Haven’t you been wanting to go

beyond those pentatonic boxes for a while now?) Here’s the deal: first, start on F# on the low E string and play four chromatic notes up; shift up a half step (one fret) with your pinky (you’re now in the 3rd position) and play four chromatic notes down; then shift up a half step (to the 4th position) with your index finger and play four chromatic notes up again. That’s the pattern. Then, keeping your hand in the 4th position, jump over to the A string and start all over again. By the time you finish the pattern on the high E string, you’ll be in the 14th position!

FIGURE 3a is just Figure 3 played in reverse, descending to the 2nd position. Follow the left-hand fingerings indicated beneath the tablature and you shouldn’t have a problem. Both figures sound good over F#m, but they can work over any chord. Experiment. 


Next month, we’ll explore how to incorporate chromatic passages into various modes. Until then, so long!

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Gitaarles 6: Stemmen van de gitaar

Gitaar Stemmen

Je kunt je gitaar stemmen met behulp van deze Gitaar Tuner.

De basisstemming van de gitaar is: E – A – D – G -B – E

*Probeer ook regelmatig de gitaar op je gehoor te stemmen.

1. Stem eerst de lage E-snaar
De bovenste snaar is de lage E snaar. Stem de lage E snaar
met behulp van de gitaar tuner hierboven.
2. Stem de A-snaar
Zodra je de E-snaar goed hebt gestemd, dan plaats je jou wijsvinger op de 5e fret(vakje) van de E-snaar. De A-snaar stem je op dezelfde toonhoogte als dat je hoort van de E-snaar. Nu heb je de E-snaar gestemd en je hebt de A-snaar gestemd.
A snaar gitaar stemmen
3. Stem de D-snaar
Plaats je wijsvinger op de 5e fret van de A-snaar en stem je de D-snaar op dezelfde toonhoogte als dat je hoort van de A-snaar.
D snaar gitaar stemmen
4. Stem de G-snaar
Zodra de D-snaar gestemd is, dan plaats je jou wijsvinger op de 5e fret van de D-snaar, stem de G-snaar stem je op dezelfde toonhoogte als dat je hoort van de D-snaar.
G snaar gitaar stemmen
5. Stem de B-snaar
Zodra de G-snaar weer gestemd is plaats je jou wijsvinger op de 4e fret van de G-snaar en stem je de B-snaar op dezelfde toonhoogte als dat je hoort van de G-snaar.
B snaar gitaar stemmen
6. Stem de dunne E-snaar
Tot slot plaats je jou wijsvinger op de 5e fret van de B-snaar en stem je de dunne E-snaar op dezelfde toonhoogte als dat je hoort van de B-snaar.
E snaar gitaar stemmen


Gitaarles 5: Sus4 akkoorden

In de vierde les heb je de mineur akkoorden geleerd. Bovendien heb je de akkoorden geleerd van een liedje, Hotel California van The Eagles.

Als je dacht dat je nu alle akkoorden kende, dan heb je het mis. Ik wil nu naar wat andere akkoorden gaan kijken, die nog redelijk vaak gebruikt worden en die je dus moet kennen. Deze akkoorden worden Sus4 akkoorden genoemd, en ze lijken een beetje op majeur akkoorden. Het verschil is dat één snaar een halve noot omhoog gaat. Om dit te illustreren, moet je maar eens kijken naar de Asus4 en het A majeur akkoord:


A sus4: A majeur: E -----0------- E -----0------- B -----3------- (m) B -----2------- (p) G -----2------- (p) G -----2------- (r) D -----2------- (r) D -----2------- (m) A -----0------- A -----0------- E -----X------- E -----X------- 

Zoals je ziet, gaat de vinger op de B-snaar van het A majeur akkoord een halve noot omhoog. Daardoor verandert de vingerzetting trouwens ook. Verder kan ik je weinig leren over Sus4 akkoorden. Kijk zelf maar:


C sus4:                  D sus4:

E -----0------- 	E -----3------- (p)
B -----1------- (w)     B -----3------- (r)
G -----0-------         G -----2------- (w)
D -----3------- (p)     D -----0-------
A -----3------- (r)     A -----X-------
E -----X-------         E -----X-------


B sus4:                  

E -----2------- (w)
B -----5------- (p)
G -----4------- (r)
D -----4------- (m)
A -----2------- (w)
E -----X-------


E sus4:                  F sus4:

E -----0-------         E -----1------- (w)
B -----0-------         B -----1------- (w)
G -----2------- (p)     G -----3------- (p)
D -----2------- (r)     D -----3------- (r)
A -----2------- (w)     A -----3------- (m)
E -----0-------         E -----1------- (w)


G sus4:

E -----3------- (p)
B -----1------- (w)
G -----0-------
D -----0-------
A -----2------- (m)
E -----3------- (r)

Okee. Let’s play some rock ‘n’ roll now!!! De rock ‘n’ roll akkoorden die ik je nu zal leren, zijn makkelijk te begrijpen en makkelijk te spelen. Plus, als je ze speelt, zal het klinken alsof je al redelijk goed gitaar speelt!! Ik zal de TABS eens opschrijven. Speel gewoon precies wat er staat:


E	         E   	           A
tel tot acht	 tel tot acht	   tel tot acht
E		 B	  A	   E		B
tel tot acht	  vier	   vier     zes	         twee

Klinkt al aardig rock ‘n roll, toch?? Dat wil zeggen, als je de akkoorden snel genoeg kunt spelen ;-))))))

Les 5 is alweer voorbij. Ook voor deze stof zul je even tijd nodig hebben. Neem de tijd, de volgende les staat hier binnen afzienbare tijd!!

Gitaarles 4: Mineur akkoorden

Les 4

In de derde les heb je al heel wat geleerd over majeur toonladders en de Drie Akkoorden Theorie. Laten we nu eens naar wat andere akkoorden gaan kijken, namelijk naar de mineur akkoorden.

Voor elke noot bestaat een mineur akkoord. ‘Mineur’ betekent dat één snaar van het majeur akkoord een halve toon naar beneden gaat ten opzichte van de ‘natuurlijke’ noot. Laten we eens naar de A mineur kijken om te zien wat ik bedoel:


A mineur:

E -----0-------
B -----1------- (m)
G -----2------- (p)
D -----2------- (r)
A -----0-------
E -----X-------

Zoals je ziet, gaat de B-snaar een halve noot naar beneden, en de vingerzetting verandert dus ook een tikkeltje. Hetzelfde geldt eigenlijk voor alle andere majeur akkoorden, dus ik zal ze hier een voor een uitschrijven:


C mineur:                 D mineur:

E -----3------- (w)     E -----1------- (w)
B -----4------- (m)     B -----3------- (r)
G -----5------- (p)     G -----2------- (m)
D -----5------- (r)     D -----0-------
A -----3------- (w)     A -----X-------
E -----X-------         E -----X-------

Zoals je ziet, verandert de C veel meer dan de andere akkoorden wanneer hij van een majeur een mineur akkoord wordt. Het wordt een barré. Op zich is dit gemakkelijk te begrijpen, zeker wanneer je naar de B mineur kijkt:

B mineur:                  

E -----2------- (w)
B -----3------- (m)
G -----4------- (p)
D -----4------- (r)
A -----2------- (w)
E -----X-------

De C mineur en de B mineur akkoorden zien er bijna hetzelfde uit, alleen de plaats op de hals verschilt 1 positie (wat logisch is, omdat het van B naar C maar een halve noot, en dus een positie, is).

Okee, nu de andere mineur akkoorden nog:


E mineur:                 F mineur:

E -----0-------         E -----1------- (w)
B -----0-------         B -----1------- (w)
G -----0-------         G -----1------- (w)
D -----2------- (p)     D -----3------- (p)
A -----2------- (r)     A -----3------- (r)
E -----0-------         E -----1------- (w)

Als je naar de F mineur kijkt, is het makkelijke te raden hoe de G mineur eruit zal zien:


G mineur:

E -----3------- (w)
B -----3------- (w)
G -----3------- (w)
D -----5------- (p)
A -----5------- (r)
E -----3------- (w)

Als je de majeur en mineur akkoorden eens wilt oefenen in een liedje, zou je de akkoorden van Hotel California van The Eagles kunnen spelen. Dat is een redelijk simpel nummer, waarin veel akkoorden zitten die je in deze lessen al hebt geleerd. Er zit maar een akkoord in dat je nog niet hebt geleerd, namelijk het F# akkoord. Dat ziet er als volgt uit:



E -----2------- (w)
B -----2------- (w)
G -----3------- (m)
D -----4------- (p)
A -----4------- (r)
E -----2------- (w)

Bedenk voordat je het nummer gaat spelen eerst even zelf waarom dit een F# is. Dat zou je nu onderhand wel moeten kunnen!! Goed, hier komen de akkoorden voor Hotel California:

Bmin F# A E G D Emin F#

Speel ze achter elkaar door en je zult het beroemde Eagles-nummer horen!

Dit was de vierde gitaarles.

Gitaarles 3: Majeur toonladders

Les 3

In de tweede les heb je de majeur akkoorden geleerd, inclusief de barré akkoorden B en E. Laten we nu eens kijken naar majeur toonladders. Je hebt vast al wel eens van toonladders gehoord. Ik vind het belangrijk dat je leert om een majeur toonladder te spelen, zodat je, als iemand je vraagt een bepaalde toon of toonladder te spelen, weet welke snaar je daarvoor moet aanslaan. Laten we eerst eens naar de makkelijke majeur toonladders kijken, de C en de E majeur toonladders:


C majeur toonladder E majeur toonladder

E ------------------     E ---------------------
B -------------0-1--     B ---------------------
G ---------0-2------     G ---------------------
D ---0-2-3----------     D -------------1-2-----
A -3----------------     A -------0-2-4---------
E ------------------     E -0-2-4---------------

Zoals je ziet, is de C majeur toonladder zo genoemd omdat de eerste noot die je speelt een C is (op de A-snaar). Hetzelfde geldt voor de E majeur toonladder. Dan nu wat voorbeelden van andere majeur toonladders (die je natuurlijk op elke positie van de gitaar kunt spelen; dit zijn maar voorbeelden):


F majeur toonladder D majeur toonladder

E ------------------     E ---------------------
B ------------------     B -----------0-2-3-----
G ------------------     G -------0-2-----------
D -----------0-2-3--     D -0-2-4---------------
A -----0-1-3--------     A ---------------------
E -1-3--------------     E ---------------------


A majeur toonladder B majeur toonladder

E ------------------     E ---------------------
B ------------------     B ---------------0-----
G -------------1-2--     G -----------1-3-------
D -------0-2-4------     D -----1-2-4-----------
A -0-2-4------------     A -2-4-----------------
E ------------------     E ---------------------


G majeur toonladder      

E ------------------
B ------------------
G ---------------0--
D ---------0-2-4----
A ---0-2-3----------
E -3----------------

And now, for something completely different: de Drie Akkoorden Theorie. Een majeur akkoord bestaat altijd uit drie noten, en dat zijn niet zomaar drie willekeurige noten. Een majeur akkoord bestaat altijd uit de eerste, de derde en de vijfde toon van de majeur toonladder van die toon. Kijk maar eens naar deze voorbeelden:


C majeur akkoord               

E -----0-------
B -----1------- (w)
G -----0-------
D -----2------- (m)
A -----3------- (r)
E -----X-------

Wat je hier ziet is een C majeur akkoord. Als het goed is, wist je dat al, want dat stond in les 2. Nou, de majeur toonladder voor de C is:
Als alles goed is, wist je dit ook al. Kijk nu eens naar de toonladder en bepaal zelf wat de eerste, derde en vijfde toon zijn. Inderdaad, dat zijn de C, de E en de G. Kijk dan eens naar het akkoord en kijk welke tonen er in het akkoord gespeeld worden. Dat zijn achtereenvolgens:
Zoals je ziet, is dit overeenkomstig de Drie Akkoorden Theorie! We kunnen voor de zekerheid eens naar een ander akkoord kijken:


E majeur akkoord

E -----0-------
B -----0-------
G -----1------- (m)
D -----2------- (p)
A -----2------- (r)
E -----0-------

Dit is het E majeur akkoord. De majeur toonladder voor de E ziet er als volgt uit:
E F# G# A B C D# E
Als je nu weer kijkt naar de eerste, de derde en de vijfde toon, dan zijn het de E, de G# en de B.

De gespeelde noten voor het akkoord zijn:
E B E G# B E

Conclusie is dat het akkoord is opgebouwd conform de Drie Akkoorden Theorie

Goed, dit was les 3. Blijf oefenen wat je zojuist geleerd hebt. Je zult er sneller gitaar door leren spelen!