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Guitar Tips

The Benefits of Online Music Education

Learning music has never been easier, since the internet and modern technological advancements have opened the doors to countless possibilities, expanding the subjects people can choose from and how the lessons are taught.

Now, people can study a whole host of music-related topics; from learning to play guitar or DJing, to understanding the inner workings of the music industry and how to produce music – all without having to leave one’s home. Read more to understand the several benefits of online music education for people of all ages.

Flexibility

One of the key benefits of online music education is the ability to work from wherever you want, whenever you want. Of course, many online courses will have their own deadlines and structured lessons, but these are normally much more flexible than traditional teaching methods.

The fact that students do not have to go to a physical destination or stick to a rigid timetable, as with the vast majority of classroom-based lessons, makes online education much more manageable for those with hectic work schedules or children to care for.

Learn at your own pace

With online lessons, students are in control of their own learning, allowing them the freedom to work at their own pace. No more missed classes, rescheduling of lessons or falling behind – students can work as slowly or quickly as they want to. This means they can take regular breaks as they please, pause or rewind videos to make notes at key points, or simply go over the steps they might have struggled with.

Comfort

A large number of us will find it easier to work when we feel at ease and comfortable, and what’s more relaxing than working from home, in surroundings with which we are familiar? One of the biggest advantages that online music lessons have over classroom-based lessons, is the stress-free environment and, therefore, added motivation that they provide.

Accessibility

Online musical education means people do not have to travel to a classroom or haul their often bulky instruments around with them, making this type of learning widely accessible to all types of people, such as those who are old or less able-bodied.

Likewise, many of us live in hard-to-reach or remote areas whereby music institutions or tutors are few and far between, or require a lengthy, costly commute. This is particularly an issue when living outside of major cities or where the musical instrument is non-traditional so less tutors are available to teach it. In such cases, learning online can be highly advantageous.

Cost-effectiveness

Online lessons often work out far cheaper than paying for a tutor to teach yourself or your child that which they could learn just as easily through the available online resources. Moreover, the transport costs you incur from travelling to a classroom or a location where you tutor is based all adds up in the long run, and the money could be spent on better honing your musical craft!

That being said, you will find that many online music course providers now offer personal support services for students, which can be carried out easily via skype or live chat and is included as part of the package price. This means that someone is always on-hand to offer helpful advice if need be, much like with one-to-one lessons!

Article provided by Point Blank Music School, which specialises in DJ lessons and music production courses both online and in various physical locations across the world.

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Guitar Tips

Essential Jazz Guitar Scales that are Easy to Learn

Improvising in jazz requires the ability to play in different keys over different chords. Results certainly do not come overnight, but with diligent practice, you would be surprised by what you can achieve. Many people ask me about what scales I use as if they were some big secret. While knowing your scales is very helpful, a comprehensive understanding of the inner workings of music is the only way to be able to express yourself as fully as possible. Today, I will discuss some of the scales I find myself using most often. Just remember, though, you have to get your hands dirty and really practice every aspect of music that you can; scales, triads, time, dynamics, touch, tone, etc.

You might have seen some of these before if you have gone over the basic modes of the major scale, but it’s important to remember that each one has its own distinct qualities and they fit over chords in specific ways. Let’s begin.

One common approach in jazz improvisation is to treat each chord as its own sound instead of soloing over a whole section as one sound. Both approaches are perfectly valid and both are often used, but it’s important to go over everything. Let’s discuss the basic scales used over a basic ii V I progression. Here are a few options:

Dorian (ii)                       

E  :—————-|

B  :—————-|

G  :————5-7-|

D  :——5-7-9—–|

A  :5-7-8———–|

E  :—————-|

Mixolydian (V)

E  :—————-|

B  :—————-|

G  :—————-|

D  :————3-5-|

A  :——3-5-7—–|

E  :3-5-7———–|

Ionian (I)

E  :—————-|

B  :—————-|

G  :————4-5-|

D  :——3-5-7—–|

A  :3-5-7———–|

E  :—————-|

Or Lydian for the #11

E  :—————-|

B  :—————-|

G  :————4-5-|

D  :——4-5-7—–|

A  :3-5-7———–|

E  :—————-|

If you know a bit about chord construction, you probably noticed how each of the corresponding chords for these scales outline the guide tones or the important notes in the chord. With regard to the I chord, both, Lydian and Ionian are valid unless the chord is specifically the major 7 with the #11. In this case you definitely want Lydian. As far as Ionian is concerned, you want to be careful with the 4th scale degree, in this case F, as it clashes with the 3rd of the chord and that is one of the important notes! Practice trying to combine ideas among these modes and see what you can create. Always keep in mind trying to hit guide tones on strong beats so the changes are clearly defined.

Let’s move on to some more exotic sounding stuff. One way many jazz players like to achieve some fun “out” sounds is by employing melodic minor in different ways. Most of these are applications over dominant chords, but you can really get creative with it. First, let’s go over the scale:

E  :—————-|

B  :—————-|

G  :————6-7-|

D  :——5-7-9—–|

A  :5-7-8———–|

E  :—————-|

For the sake of saving time, I will go over the names of the modes but I will describe them the way I like to think of them, which is basing the melodic minor scale off of specific chord tones instead of thinking of individual modes. Before moving on to dominant chord applications, it is worth noting that it is very effective to use the scale over a minor ii-7b5 V i progression. You can play it over the entire thing and it hits everything you need. Now, I am sure some of you are thinking, “What about the b7 on the i chord?” This is a valid concern, but as long as you avoid laying into that natural 7th from melodic minor too much, you can play through it as a sort of passing tone and be totally fine. Try it for yourself and see!

Lydian Dominant – Play melodic minor from the 5th of a dominant chord. Ex: F melodic minor over Bb7

Altered Dominant – Play melodic minor from the b2 of a dominant chord. Ex: B melodic minor over Bb7

The rabbit hole goes pretty deep with melodic minor applications, and to go over all of it is probably beyond the scope of this lesson, but these are two of the ones most commonly applied.

One scale that is more commonly used but still very useful is the blues scale. This is very useful over a static minor chord and even dominant chords. You might be wondering about playing that b3 in the scale over a dominant chord which would have a natural 3rd, but it ends up just being the #9 of the chord so it actually sounds pretty neat. Jimi Hendrix, anyone? Anyway, here it is, as with anything, learn it in every octave and key in every position all over the neck.

E  :—————-|

B  :—————-|

G  :—————-|

D  :———-5-7—|

A  :—-5-6-7——-|

E  :5-8————-|

Lastly, I would like to discuss the diminished scale a bit. This is a symmetrical scale and it exists as the half-whole diminished and the whole-half diminished. I have heard every name in the book for these, but I feel that these are the most practical for me. The half-whole is particularly useful over a dominant chord with specific alterations. Think 13b9 and #11. Do some exploration and see where else you like to hear it. I tend to use the whole-half over diminished chords. Sometimes, I like to treat diminished chords as dominant chords and approach them that way. So, for example, if you have got a progression that goes something like Gm G#dim | Am, I would treat the G# diminished as E7. G# diminished just so happens to be the upper structure for E7b9. It is much easier for me to apply the diminished scale over the chord this way.

It is extremely important to learn this material in as many octaves, positions, and shapes as possible. Learn them in 3rds, 6ths, 7ths, etc as well. Come up with different permutations. Really make these part of your vocabulary. That, for me, is the best way to make sure they are used naturally instead of being forced. For some great information on jazz improvisation and using some of these devices, I recommend Tony Remy’s instructional which you can find at the following link:

http://www.promusictutor.com/guitar/pro-licks-guitar-lessons/jazz-and-blues-concepts-series-1-tony-remy-guitar-lesson/

About the Author

Marc-Andre Seguin is the webmaster, “brains behind” and teacher on JazzGuitarLessons.net, the #1 online resource for learning how to play jazz guitar. He draws from his experience both as a professional jazz guitarist and professional jazz teacher to help thousands of people from all around the world learn the craft of jazz guitar.

 

How-To

Why You Should Be Learning a Second Instrument

Learning your first instrument can sometimes feel impossible. Why on earth would you want to learn a second? I’m going to use this article to convince you that learning a second instrument is not only a great use of your time, but it may be better than spending time with your first instrument!

Considering the amount of time and effort required to learn an instrument this is not an easy proposition. If you’re like me, your first instrument took years to learn. The initial stages were full of struggle and hard work. You not only had to build the muscle memory, but you had to wrap your head around music theory and composition. So why do it again?

It Gets Easier

Well, for starters, it’s going to be easier. Learning an instrument is as much about developing a habit as it is learning the muscle memory. Once you have the habit down, there is nothing stopping you from using it to pick up another instrument.

Your knowledge of music theory will speed up the process and cut out much of the difficulty the typical beginner will face. No struggling with the chromatic scale, keys, or reading.

Additionally, your muscle memory will likely transfer over as well – speeding up the process even more. The musical skills you’ve created with your first instrument will be set and ready to go for round two.

In other words, your previous skill in music will provide the momentum required to carry you through the struggles of the initial stage.

Speaking from personal experience, I was able to pick up the keys in half the time it took to learn the guitar. If you’re a guitar player, I highly recommend considering learning the keys as your second instrument. Especially considering the amount of budget-friendly digital pianos now available.

READ: The Best Digital Pianos at AudioMastered.com

Music is a language. Once you’ve picked it up once, the second time is much easier.

What if you’re an adult? Can it be done? Yes! Check out the video below for another perspective.

A New Perspective

What’s more, it provides you with a completely new perspective. While the main tenants of music theory remain constant, I find each instrument has its own flavour.

While one chord progression may sound fantastic on guitar, you may find it to be lacking on piano. The nuances of your saxophone may not transfer over if you pick up a trumpet. Your rhythm from drums won’t be much help on the harp.

What it will do is increase your creativity in both directions. Your guitar playing will have affects on your trumpet, and vice versa. Have you ever tried playing a saxophone solo on the guitar? Taking ideas from your sax and trying them on guitar can result in something really special.

Taking a piece you’ve written for guitar and playing it on the piano may breathe new life into the song and take you in an entirely new direction. The list goes on.

The mixing of musical styles results in a level of creativity only possible if you’re experienced with more than one instrument.

An Easy Out For Writer’s Block

Writer’s block is something we all have to deal with. It just so happens that multi-instrument musicians have to deal with it a little less.

It’s very easy to get stuck in a rut with a single instrument. Unless you are extremely well versed, you’ll always run into limitations with music theory, variety, or just new ideas in general. I’m sure we’ve all been excited about a new composition only to later realize it sounds exactly the same as the last song we produced.

This problem is easily minimized if you can play multiple instruments. The musical habits/style you develop with one instrument won’t exactly match the other.

The chord progressions you like on piano will likely be different than those you prefer on guitar. The natural layout difference between instruments usually results in unique melodies and phrasing. Additionally, each instrument has its unique subtleties when it comes to soloing.

If you’re ever stuck with writer’s block simply pick up your second instrument and carry on!

Develop Your Ears

Have you ever heard the term “think like a guitar player?” Each type of musician comes at music a little differently. Learning a second instrument will sharpen your ears and allow you to hear things from another angle.

You’ll eventually begin to hear the different chord voicings on piano, or actually appreciate what the brass section of your band is doing.  Monophonic musicians may develop a new appreciation for harmony through learning a polyphonic instrument.

Additionally, your enjoyment of listening music will be increased.

You’ll begin to take notice of the organ playing in the background, or the drum pattern gluing things together. The string section will come to life once you start tackling the cello.

Things once hidden will come to life. What more could a music-lover ask for?

Jamming Is More Fun

While the above points have mostly focused on your skills as a musician, learning a new instrument can result in some interesting jam sessions.

I personally love to change instruments a few times during a jam session. It breathes life into the jam session and mixes things up. Often, things become really interesting if you can switch instruments mid-song.

It also gives you much more versatility with whom you can jam with. Don’t have a keys player? No problem. Have 6 guitar players and no sax player? Sign me up!

You’ll find your opportunities will double if you can play an instrument other than guitar.

Recommendations

While I won’t pretend to be the authority on the best instruments to play, there are some easy transitions you can make if you’re afraid to take the leap. You should also check out this guide on which instrument is right for you – plenty of good information here.

Making the switch from a polyphonic to monophonic instrument (say from keys to the trumpet) will also be eye opening. Your soloing skills will blossom and you’ll become incredibly sought-after for jam sessions.

I hope this has convinced you to take a swing at another instrument. You will only be doing yourself a favour. I can only think of good things that come from more time invested in learning music.

As always, we’d appreciate a share on social media if you’ve found this useful. Until next time!

This article was written by Glen Parry of Audio Mastered. Glen has been a musician for over 15 years. He’s done everything the hard way so you don’t have to. You can find more musical advice and audio gear buying guides over at AudioMastered.com.

acoustic guitar
Guitar Tips, How-To

5 Easy-to-Learn Guitar Riffs to Impress Your Friends

When you’re first starting out learning how to play the guitar, it can be quite frustrating to stay motivated. It’s practicing the same chords, the same strumming and fingerpicking patterns, the same scales and songs over and over. It’s also pretty hard to impress your friends or girls with your noob skills, so ultimately you end up playing by your lonesome.

To help you stay on track on your journey to becoming a killer guitar hero and keep you motivated, what you need is an addition to your repertoire: classic, awesome-sounding and recognizable riffs that will surely make you sound like an advanced player (and you’re on your way to being just that!). By learning to play these easy riffs, you’ll be able to play “real” music in a shorter span of time, and you’ll love playing and practicing more.

Learning these riffs will help you get better at playing guitar quickly and earn the admiration of your peers.

Teach yourself to read guitar tabs and focus on learning one riff at a time. Once you’ve mastered the riffs, you can learn the songs in their entirety. Here are five of the most popular beginner licks to get you started!

“Smoke on the Water” – Deep Purple

This is the easiest riff to do because it uses only one string. Ritchie Blackmore, Deep Purple’s guitarist, came up with the riff, and it was the first backing track to be laid down for the Machine Head album. Lead vocalist Ian Gillan wrote the lyrics for it, inspired by a fire that happened just days before the recording sessions.

smoke on the water

 

“Seven Nation Army” – The White Stripes

Another easy, yet more contemporary riff, this one uses only one string like “Smoke on the Water.” Jack came up with the riff during soundcheck for a show in Melbourne, and he once said that he planned to use the main riff for a James Bond movie theme should they get asked. Deciding that would be unlikely, he used it for “Seven Nation Army” instead.

seven nation army

 

“Day Tripper” – The Beatles

The riff of “Day Tripper” sounds tricky, but it’s actually easy to learn. John Lennon came up with the main riff and it’s been played live by George Harrison, with Paul McCartney syncing perfectly on the bass. So when you play this riff, you can imagine yourself playing with the band, and that is pure awesome.

day tripper

“Satisfaction” – The Rolling Stones

You can’t get no satisfaction from playing the guitar unless you learn this riff! Keith Richards came up with this three-note guitar riff on acoustic guitar, recording a rough version of it in his hotel room before falling back to sleep after two minutes. The now-famous riff opens and drives the song.

satisfaction

“Sweet Home Alabama” – Lynyrd Skynyrd

Guitarist Ed King said the riff came to him one night in a dream, and we hope something like that happens to us too. Ed played the riff over and over to lead vocalist Ronnie Van Zant, who would come up with a verse and a chorus moments later. The instantly recognizable riff made the song a hit back in 1974, and we’re still listening to it today and playing it ourselves.

sweet home alabama

 

 

This article was produced by Nicky from KnowYourInstrument.com

saxophone
How-To, Saxophone Tips

Breaking Down the Blues Scale for Saxophone

The blues and the saxophone go hand-in-hand, but mastering the techniques of the blues scale can take practise and patience. The blues scale is an excellent tool for improvisation and is a great stepping stone to creating your own compositions. It also enables you to play with other musicians without the need to be following a score, just stick to the rules of the scale and you will all be playing in harmony.

Starting in C

For this example we are using the blues scale in the key of C. From the C, move up a minor third to E♭. Practice keying between these two notes. You will need to use the octave key if you are starting at the C above middle C. Have a go at playing a slow trill between the notes.

The next three notes are a cluster of semitones, F, F# to G. Again using this cluster of three notes have a go at playing them forwards and backwards, in swung, straight or triplet rhythms. If you are playing triplets, try say the word “bicycle” in your head to help you to get an equal note length for each note.

Your final note of the scale is the B♭ before you move to the key note of C. Practise moving between the two keys. This will help you to improve your saxophone playing quickly.

Joining up the notes

Blues scales don’t need to be practiced in the same conventional way that you would practise a major and minor scale. Although it is useful to play this scale ascending and descending over an octave or two, you can practise playing different sections of these notes and it will be just as effective. Practise putting the first five notes together, or instead, start your scale at a B♭. You don’t always need to start the scale on the tonic note. Use your music practise space to experiment with bigger intervals too, for instance keying between the E♭ and the B♭.

Playing the blues with others

If you are playing the blues with others, don’t forget that you may need to be playing in different keys. The tenor saxophone plays a tone above concert pitch. So if your friend is playing a C on on the piano or guitar, you will need to play a D. The alto saxophone players will be playing an A if a C is played at concert pitch. This means that if your friend is playing the blues scale starting on C and you are playing alto sax, you will need to begin your blues scale on A, using the same tonal intervals between the notes.
Most of all when you are learning this new technique, be patient with yourself. Once you have mastered the scale, it is always useful to practise with a backing track so that you can test out your rhythms in time with a beat. This way you’ll improve quickly and soon be mastering some great improvisations around the blues scale.