You can tell whether or not strings are of a thin or thick gauge based on the numbers on the package. The smallest number, which is the gauge of thinnest string, will usually be .9 or lower on thin gauge strings. On thick gauge strings this number will be .12 or higher. Strings that are .10 or .11 are generally considered to be “mediums”, and produce a tone and feel which is the middle ground between these two extremes.
Once you know the basic chords, it might be easier to think of them the way the function inside a key. For example, when in the key of E, the E (I) is called the Tonic. It's what all the other chords want to get to—which is what helps give western music its sense of motion. The A (IV) in the key of E functions as the Subdominant—it's sort of a passive in-between, just as happy to continue forward, as to relax back to the Tonic. The Dominant is just what it sounds like: it leads you where it wants to go. In the key of E, that role is filled by the B (V), and will definitely make your brain want to get back to the Tonic! When you get more familiar with the chords, and want to sketch out a tune, try writing it as I-IV-V (or variations of that) instead of E-A-B. It will make it much easier to transpose when you find out your singer cannot sing in the original key!
Electric guitars can have solid, semi-hollow, or hollow bodies; solid bodies produce little sound without amplification. Electromagnetic pickups convert the vibration of the steel strings into signals, which are fed to an amplifier through a patch cable or radio transmitter. The sound is frequently modified by other electronic devices (effects units) or the natural distortion of valves (vacuum tubes) or the pre-amp in the amplifier. There are two main types of magnetic pickups, single- and double-coil (or humbucker), each of which can be passive or active. The electric guitar is used extensively in jazz, blues, R & B, and rock and roll. The first successful magnetic pickup for a guitar was invented by George Beauchamp, and incorporated into the 1931 Ro-Pat-In (later Rickenbacker) "Frying Pan" lap steel; other manufacturers, notably Gibson, soon began to install pickups in archtop models. After World War II the completely solid-body electric was popularized by Gibson in collaboration with Les Paul, and independently by Leo Fender of Fender Music. The lower fretboard action (the height of the strings from the fingerboard), lighter (thinner) strings, and its electrical amplification lend the electric guitar to techniques less frequently used on acoustic guitars. These include tapping, extensive use of legato through pull-offs and hammer-ons (also known as slurs), pinch harmonics, volume swells, and use of a tremolo arm or effects pedals.
UPDATE: SEPTEMBER 3rd, 2010 -- Good evening, and hi everybody! I get requests to add tabs once in a while, and for years one of the most common requests has been 'Psychic Hearts', and more recently 'Trees Outside the Academy'. I resisted for years, but boredom and the need to please has a funny way of making things happen, so I'm proud to bring you tabs for the entirety of "Psychic Hearts" and its related tracks, as well as the majority of "Trees Outside the Academy". I was originally planning on providing bass tabs as well as the Mascis solos, but I decided I wasn't that desperate for accolade. With all this attention on Thurston, I felt bad for Lee, so I've updated my outdated tab for his excellent solo acoustic piece "Here" (located under "Other Tabs") with the proper tuning, which also happens to be the tuning for the equally excellent "Lee #2", so I've updated that one too!
Jake Jackson's publications, as writer, editor or contributor, include The Beginner's Guide to Reading Music, How to Play Classic Riffs and Play Flamenco. As guitarist and songwriter he has been in a few bands, including Slice, The Harmonics and Starbank and has studied a form of Flamenco guitar. Although Jake has a range of fine guitars in his house his favourite music software is Sibelius and, having worked with Cubase for many years, is now moving over to Logic Pro.
The standard guitar has six strings, but four-, seven-, eight-, nine-, ten-, eleven-, twelve-, thirteen- and eighteen-string guitars are also available. Classical and flamenco guitars historically used gut strings, but these have been superseded by polymer materials, such as nylon and fluorocarbon. Modern guitar strings are constructed from metal, polymers, or animal or plant product materials. Instruments utilizing "steel" strings may have strings made from alloys incorporating steel, nickel or phosphor bronze. Bass strings for both instruments are wound rather than monofilament.
The lower strap button is usually located at the bottom (bridge end) of the body. The upper strap button is usually located near or at the top (neck end) of the body: on the upper body curve, at the tip of the upper "horn" (on a double cutaway), or at the neck joint (heel). Some electrics, especially those with odd-shaped bodies, have one or both strap buttons on the back of the body. Some Steinberger electric guitars, owing to their minimalist and lightweight design, have both strap buttons at the bottom of the body. Rarely, on some acoustics, the upper strap button is located on the headstock. Some acoustic and classical guitars only have a single strap button at the bottom of the body—the other end must be tied onto the headstock, above the nut and below the machine heads.
The original purpose of the resonator was to produce a very loud sound; this purpose has been largely superseded by electrical amplification, but the resonator guitar is still played because of its distinctive tone. Resonator guitars may have either one or three resonator cones. The method of transmitting sound resonance to the cone is either a "biscuit" bridge, made of a small piece of hardwood at the vertex of the cone (Nationals), or a "spider" bridge, made of metal and mounted around the rim of the (inverted) cone (Dobros). Three-cone resonators always use a specialized metal bridge. The type of resonator guitar with a neck with a square cross-section—called "square neck" or "Hawaiian"—is usually played face up, on the lap of the seated player, and often with a metal or glass slide. The round neck resonator guitars are normally played in the same fashion as other guitars, although slides are also often used, especially in blues.
I would especially like to stress the gentle approach Justin takes with two key aspects that contributed to my development as a musician - music theory and ear training. Justin has succeeded in conveying the importance and profoundness of understanding music both theoretically and through your ears while maintaining a simple and accessible approach to them, all while sticking to what is ultimately the most important motto: 'If it sounds good, it is good'.
I think for all parties, if we had the ability to send a "two day backstage pass" (you can use that), where we can send a friend a link and they could try the sight for free but couldn't submit videos. I have a few friends that I keep trying to sell them on but they just are not totally sold and I think it's because the beauty of this site is the personalized VE's are. The interaction between student and teacher is what really makes this magical and it's really hard to describe. The search feature could be a little better, more precise and sometimes it finds no VE hits on simple searches like street. Otherwise I am one of your biggest fans.
Conventionally, guitarists double notes in a chord to increase its volume, an important technique for players without amplification; doubling notes and changing the order of notes also changes the timbre of chords. It can make a possible a "chord" which is composed of the all same note on different strings. Many chords can be played with the same notes in more than one place on the fretboard.
I absolutely love my program. Leading edge technology, phenomenal instruction and course delivery. Interactive learning interface is top drawer. Paul Gilbert is an amazing amazing online teacher. I have seen more results with his program versus years of face to face lessons - I never thought this was possible via online means but you utterly pulled it off. I could not be more pleased.
Our philosophy is simple. We make learning music fun, and are committed to the integrity of a quality music education. In addition to a foundational education, students are given ample opportunity to make music with others. The confidence gained by learning music parlays with other areas, giving students the self-assurance to take on new challenges.
Lucky you, guitar players from all over the world, to take advantage of the tutorials presented in Justin's comprehensive website! Whatever the style you fancy, Justin is there for you with generous and precise guidance to help you enhance your playing and by doing so, introduce you to so many ways of approaching the guitar and discover new artists along the way. I wish there would have been such a medium and dedicated host around when I started to learn how to play. Bravo Justin, and my gratitude for bringing music to the heart and ears of many!
The Guitar Program at Musicians Institute is designed to develop professional level technique and musicianship through performance-intensive and immersive experiences. Guitar classes are taught by leading professionals and students will get trained in the basics of guitar playing, including performance, ear training, melodic soloing along a huge variety of contemporary styles.