Ok my pals,this is what I can do. I can get you up to speed, to a level which I myself am capable of playing. All you need to do is follow simple instructions. At times you may have to do things blindly and follow simple instructions. Please do it. It's not like this is the only system, its definitely not.But its mine and this is a window into how a person without any musical education tries to play stuff.Please get up to speed on playing the major scale in all positions and get your fretboard familiarity to be really strong.
After a few videos with ideas on the blues I will gradually take tunes with a few changes and then some more and so on till you get the idea of playing over changes. This is my endeavor,to get you to phrase over changes and through them.It's a never ending process and I will get you to a place where you can then do it all on your own.
Read earlier posts and catalog them if you want. They could be scattered because sometimes I just want to share stuff and I want to do it NOW :). Practice the rudiments,and most importantly keep the music at the top of the pile. In my opinion people who play 'well' are just vehicles to play music.They themselves are of no consequence if you want to play music. What they play is data,which is learning that's all.So borrow from everyone but for God sakes do not become a clone and be yourself. The lessons on phrasing are just data to kickstart your brain in that direction.
Moral of the story: LEARN TO PLAY MUSIC LIKE YOURSELF.

Here are easy blues cliches and simple lines that you can use and phrase with. These are ideas on the 1 chord which happens to be C#7. Hope you find this useful.
http://www.youtube.com/watch?v=Y36lE4cWAD8&feature=youtu.be

Like I said several times to know a scale, I mean KNOW it write down the notes on a piece of paper.Then plot it on a 12x6 fretboard diagram. Look at it and you will see layers of information...chords,patterns,and tons of stuff. This is way better than buying expensive books and listening to dreary lectures because you can take whatever you like from that static snapshot.Try 7 note,8 note whatever scales and do this on a regular basis.Take it across all the keys. Do this with dedication and do NOT waste your time on learning someone's solo with tabs.This is a habit difficult to shake and the sooner you do it the better.Here is an online tool to help you generate some cool fretboard diagrams.

http://www.theguitarwoodshed.com/mymusicstand

The Blues a primer:
Besides all the esoteric talk about ' Call and response','Playing with soul',' Dil se bajao' and all this rubbish please focus on the syntax otherwise you will seriously disturb the 'souls,'hearts', and a lot more of all the listeners who hear you.
The blues is an emotive form and has a vocabulary.There are scale forms that are used from where all the cliches you hear are born. Every rock n roll lick,every small embellishment however kinky is part of a scale or a hybrid mix of more than one scale.
Let us take a simple 12 bar progression which I assume you guys are familiar with. The chords are say G7,C7 and D7. The 1,4 and 5 chords.When you start off on the G7 chord and before you start jumping around trying to reach that one favourite lick take a short while to understand the chord.
On this G7 try the following options: G Mixolydian (the notes of the C major scale),the Minor Pentatonics in the 1,2,5 and 6th degrees(for the 2nd and 5th avoid the 4th's),The melodic minor up a 5th i.e. D melodic minor,The half whole diminished scale starting at G,The whole tone scale starting at G.Some of these options will give you an 'outside sound'.This paragraph is a data intensive block and read this carefully or you will land up playing with your 'soul'.
When you move to the 4 chord i.e. the C7 the main sound you will hear are the notes of the F major starting at C.Try this for now and see how nicely the change from G7 to C7 has been made.
Do not philosophize with names and stuff and ask questions. DO IT and you will hear it I guarantee.There are many more things you can do here but start with this.
On the turn around which is the movement of the 5-4-1,people have played really interesting things and you will too if you understand how the chords resolve back to the 1. Try the mixolydian ideas for the 1 chord over the 5 chord. Try a motif with the chord tones of the 5 chord and resolve it to the 1 chord via the 4 chord.This is a 'creative' part of these changes and you can quote nursery rhymes,the upanishads or anything you feel like as long as you resolve the idea to the 1 chord to which the progression finally comes to rest.Try using small licks from the data given and transpose them to the other keys to make the idea float 'through' the changes.The bottom line is to TRY.
Go through the posts and you will see a few videos on bends and cliched phrases.The newer ones I will record will take you through each chord and give you ideas on how to approach stuff.Please read the posts and make charts on every scale that you will use in order to gain control of the fretboard. This is imperative and needs to be done by you. As one guy said 'this is not fun anymore'.LOL get with it and you will see and enjoy several levels of 'fun',I absolutely assure you :). And hey please,please for god sake work on the vibrato it will make or break your blues career :D.

http://www.youtube.com/watch?v=eIXIVbRa9vw

while my hand heals properly here is a cool thing you can try. Assuming that you know the major triads all over the neck,there is no excuse if you don't :),play a triad and alter the bass notes all 12 options and you will find some amazing chords.These will not essentially be major. Please try this out and I will make videos once my hand can be flexed easily, I played a set of gigs and that has aggravated the scene :).

to dissolve frets and intonation problems learn to use a slide.Play on one string and press down on the slide ever so gently on the strings to get a smooth sustain.Try to play simple melodies on one string.There will be no licks just you ears trying to find resolution by moving the slide.It's a fabulous way to focus on the depth of each string. Do try.

Small trick.Let us assume you know a song which has 3 Major chords and another one which has 3 Minor chords.When you start the tune it moves in a 'major' sort of way and the second one will decidedly be 'minor' sounding.You know when you do ear training and start using inversions initially you will be quite thrown with these sounds,though they are major or minor.Here's what you can do...
Sing your major or minor song over whatever inversion and you will immediately know what inversion it is.Its like remembering a familiar turn from your childhood to learn left and right. Try this its really cool :)

In keeping with understanding the fretboard and juicing every bit of the pentatonic scales,its very important that you learn them in all positions all over the fretboard and learn how they work over different chords. Also when you play a scale with 3 notes per string try leaving out the note in between the two extreme notes on a string giving you a wider intervallic sound. This will change the way you perceive the scale and change the way you sound using the scales you are familiar with. The great teacher Don Mock had compiled a white paper on pentatonics and its here for your perusal.Any scale must be understood and its application maximized to truly progress,this is true with anything.

https://docs.google.com/file/d/0B5qJqMU7g1nHMVZWUHVVMXZiWW8/edit

if you truly want to burn diatonic harmony into your mind and you love technology here is what you can do.Most phones have mp3 playback.All you have to do is record different mp3's with one chord each i.e Cmaj7,Dm7,Em7,Fmaj7,G7,Am7,Bm7b5.Now put these fellows in a playlist and click shuffle.Put on your earphones and call out the chord if you recognize it.Soon you will be superb at this. Change the inversions and do the same. You will master this too.If you have a better randomizing tool even better,the shuffle is predictable :P.
Then pick another key and work with it the same way. Then scramble keys and work. Work on your ear it's really great fun and in this age of technology we can use everyday appliances to create some really helpful tools.
Learning how this harmony works is a real blessing.Sing a random song as the shuffle plays and you will see how random chords will kick your mind around.Do enjoy :)

Take a simple progression with say 2 chords :).Cmin7/ Eb min7.Learn how to phrase over this simple structure by understanding the notes that make up each chord and the fact that these notes will be separated by minor 3rds,all of them.Now using the scale chart that I have posted please look at the options needed to phrase over min7 chords. Starting with our favorite minor pentatonic scales that made Slash a millionaire,you will see that over a minor 7th chord the pentatonics that can be used will be of the 1st,2nd and 5th degrees. i.e for Cmin7 you can use C,D and G minor pentatonics.Try these options out and mix them all over the fretboard.For Ebm7 you have Eb,F and Bb.Use all these devices to make some really cool ideas emerge with string skips etc. Please plot each of these scales on your fretboard charts.
Use this online device to plot fretboard diagrams.
http://www.theguitarwoodshed.com/mymusicstand

every melody you hear be it 4 notes or 32 notes has the potential to be a lick and an enhancement to your vocabulary. Jazz musicians have for a long time quoted from melodies in their solos.Try this...take the corniest melody you know and practice only this in all 12 keys. Then mutate the melody to work over a minor chord,major and then dominant to instantly give you 36 licks.The slightest mutation in this melody either rhythmically or otherwise will generate more.This is a fundamental way to enhance your vocabulary,so do NOT scoff at a melody citing it to be 'Bollywood' or whatever,just take it and noodle it and then own it.Creativity is completely in your hands.

Modes from the Commode

   There was a family. Daddy, Mummy,Grandpa and 4 children one of which was mildly autistic.Grandpa was a loudmouth but was harmless.Daddy earned the money to run the household,and wrote the rule book for the house.To live in peace in this house,everyone had to understand that Dad was boss.So at any given time any of the other members of the house could instantaneously be in the good books of daddy by adhering to his laws.This is an introduction to modal theory where Daddy and Mummy were Majors,Grandpa was dominant (only in speech),there were 3 minors and an autistic half diminished sister.We will study the relationship of these family members in time and realize that its really quite easy.So welcome to the New Year and an easy introduction to modes and commodes.

       ...so when daddy and the family went out,they stayed together and followed his rules.The kids listened,mum made sure they stayed in line and Grandpa talked loudly every once in a while.When people asked them for a resume it was always...My name is ------ and I do ---- and I love -----,however all the ---- were lines coined by daddy.This was the way it was in daddy's world.Their names and identities were unique but when they stayed and travelled together the data that they put out was the same so as to make daddy happy.They lived in harmony like this.

     Now take daddy's rule book to be the major scale.And this is THE only syntax we have to follow. Lets always take just the C Major scale which I have told you to plot on a fretboard diagram.

The family has Daddy= Cmaj7, Mummy= Fmaj7, Grandpa= G7 (gets altered when he is unwell),Child1 =Dm7,Child2=Em7

Child3 =Am7,Lil autistic sister=Bm7b5.

     Let us take a random family member and say Child1 wants to say something to daddy and the rest and not be rude. She will be speaking with the notes D,E,F,G,A,B,C.Always starting with the note that is her name in this case Child1=Dm7 so,the note D.

If it were Grandpa asking for a sweet and hoping to get it he would ask using G,A,B,C,D,E,F. As grandpa=G7.Please now understand that this is the mode of speech to be in daddy's good books.

      So what do we do to understand how it sounds when say Grandpa speaks? We play Grandpa's chord as the background sound...and over that we play G,A,B,C,D,E and F. We can play these notes in sequence and out of sequence but preferably starting with G.This sound will be the essence of Granpa's speech.The notes played over the chord IS that sound.

      The Ancient Greeks gave these sounds names and they were called modes.The names were twisters and made people in our generation feel that they had to be Greek or mathematicians to understand. They are just names NOTHING else.The sound is what I want you to get.

      Play the speeches of Child1,Child2 etc just like you did Grandpa's all over the neck always starting with the note that is the ID of that family member.You will hear how cool they sound.

      This family is a family with no real gender or age differentials. They are people with name tags 'Daddy','Mummy' etc. They can switch tags anytime in a song.There can be 2 Mummy's it could be all autistic people in a family,in some really weird songs....but yeah get the drift.

      Moral of the story: G Mixolydian are the notes of C major, D Dorian are the notes of C major and so on.Will do the name associations later. C Dorian will be Child1 of Daddy Bb and so on. If you imbibe these sounds your knowledge will be unshakeable I promise you :).

This is what I did to understand time and playing 'in and 'out' of time. There is NO such thing as absolute time because even the most precise clock drifts. That having been said its best that we eventually learn to play in 'sync' with each other and to minimize drift when we are alone.There is a lot of malarkey about all of us having an internal clock and time comes from within.This is honestly some philosophical stuff or else we would have had everyone never going 'out' of time,something that we know is just not true.
So just like a clock drifts and so does a metronome and anything with a pendulum and mechanical moving parts,we must pick a relatively stable reference. Say a digital clock with a perfect battery.Learn to count along with the least count namely the seconds count and do this along with the clock for 5 minutes.Turn the clock face after 5 mins and count 300 counts without looking at the clock.Chances are when you turn the clock to check you will be off +/- 10 seconds if you were concentrating.I say a digital clock because I don't want you to have the benefit of a tick or tock :). Continue to practice just this for 10 minutes everyday bringing down your error in a +/- 2 window.This is quick for some and not so for some.
When you master the second count you will eventually be able to gain control over a 10 second time interval and then 20. Eventually you will even be precise with a minute. This is feeling time once you have internalized some stable clock with focus.It will teach you concentration and relative reference making you alert to other people and their drifts.
Assuming you have now developed a clock that works we can talk about funk and stuff that makes you dance and feel good. Have a great New Year and hope you benefit from whatever little information I put out.

start a tune of your own in any key. Play a Major chord and just make up a melody starting from a note.Start from the same note and now play a minor chord and see how your melody deviates. Now do the same with a dominant or seventh chord. These variations are what these different family of chords make you do.Training your ear to atleast hear the different families,major,minor and dominant is a must to be able to phrase well and make stuff up.

Playing over the blues one can have a lot of choices besides just the pentatonic scale. To sound' jazzy' a common device used is to use a melodic minor up a 5th.e.g over G7th you can use D melodic minor.This enables you to take your blues vocabulary into different territory and explore a new space. It's definitely one of those sounds you have heard and liked but are not able to figure what 'it' was. The spelling of a melodic minor scale is 1,2,b3,4,5,6,7. So it's a major scale with just the 3rd flattened.:)
Here is a ready reckoner for common scales in use.It will be nice to take each one and plot them to pilfer chords. I do this to any new sounds. Chords in addition to really cool string skip shapes.
https://docs.google.com/open?id=0B5qJqMU7g1nHX2c1RUM1RE9oUFk

Suppose I want to make a change from say playing in Amin7 to Amaj7,and all I know is the pentatonic scale. Here's what I could do...play Amin pentatonic with all my favourite licks over the Amin7th and the moment the chord changed to Amaj7 I would play the same licks,same shape just down a half step i.e. Ab minor pentatonic,a cool sound which doesn't even have the 'A' note but has all the other relevant sounds,the hip sounding lydian with a #4 in this case Eb.So yeah try that out in all other keys :)

here's the backing track in D Dorian,for you to try ideas out with the Cmajor chart with dots right in front of you. You can use wide vibrato when notes you want are two frets up and narrower ones when they are one fret apart on that chart. Happy playing :)
https://docs.google.com/open?id=0B5qJqMU7g1nHTEt3dWY1ZDhaMG8

It will be a nice thing to share this page with like minded people not just for likes,but so that they too can download the few tracks and pieces of information shared here. I link, as you have noticed data straight from my lil hard drive to Google drive.So if there is any way you can be an instrument to have this reach out to more people the purpose will be served.I iterate it is not necessary to 'like' anything but if there is even a small comment that will change or help you that will be awesome :).

based on the chart of the Cmajor,and vibrato and the old devil in me,I played just some simple rock sounds to demonstrate that this is not 'jazz','pop','blues' info its just an easy guideline.Simple rock licks out of the D minor pentatonic and the C major scale is all I used.Feel free put your ideas down and record it on a phone,listen to them and improve on your own.
https://soundcloud.com/fcubic/sounds-from-friday-evening-1

Remember those licks that you love from your favorite guitar player and cannot get immediately. Do this...every day sing the chromatic scale starting from any key.Do it slowly and as you sing,picture the interval in your mind as you go along.#4,5th,#5,6th etc.Licks you cannot get are usually difficult because the intervals are displaced by octave,rhythmic groupings are complex etc. If you can say from a starting point e.g. F# know how the b7th sounds in all all octaves (by practicing this singing and playing exercise). 'Unknown' and 'exotic' sounds will be under your fingers. These are a few of the things unschooled players like me devise to teach ourselves. It makes 'copying' your favorite lick dead easy.

The basis of diatonic harmony ( harmony derived from the major scale) can be very easily understood by plotting the C Major (easiest to understand because there are no sharps and flats) scale all over the 12 fret x 6 string grid.As you proceed to play the tones along each string you will just notice that they are just linear displacements of the other strings based on the tuning of a guitar.So at any point along a fret you will get some cool combinations of notes in the scale.
The chords derived from this scale are: 1Maj,2Min,3Min,4Maj,5Dominant,6 Min,7 Half dim.
CMaj,Dmin,Emin,FMaj,GDominant,A Min,B Half dim.
The spelling of a fundamental Major7th chord is (1,3,5,7),Min7 (1,b3,5,b7),Dom (1,3,5,b7),Half Dim( 1,b3,b5,b7).
The exercise is to circle these groups on the grid and you will have all inversions of all these principal chords without any fancy alterations. This is the basis of the harmony implied in the major scale.You will find crazy large intervals that you can use, and close intervals as well.Circle away and study this circled chart focusing on each chord in the family.e.g. Study the Dm7 in all its forms on one day etc.
Gradually the logic that lies within the scale will be very understandable. By taking again diads,triads and chords for each component you can easily learn this very important concept. No need to break your head over a book that kills you with rhetoric and repetition. Yes advanced concepts can be broken down much easily once the fundamental building blocks are down.
Please plot and verify and totally enjoy :)

Lets say that you can bend a string a whole step away.e.g. C to D.Try bending to C# and hold then from C# to D and hold. Do it the other way D -C#-C.If you can bend 4 half steps then use then same logic and play a chromatic scale using just the bends. Clean and with dead stops at destination notes.It will remarkably improve your intonation.

Take a simple nursery rhyme and learn the melody really well.Now approach each of the notes in the melody from one step up or down .i.e if a note is C then play B to C or C# to C.Try this with melodies you learn.The approach notes can be played on weak beats and the actual notes on strong ones. You can reverse this to create countless licks.You will see how that great adage 'nothing is really wrong' is true and depends just on how you do it.Academics call this targetting,in a nutshell its just about getting to a note via pathways close by.Do try this over the New Year and expand your vocabulary.Wish you the best and crack this fun exercise.

To try out these small vibrato exercises here is the backing track I used. Play the blues licks you know and stuff you are figuring out to do this in the key of Bb.If you want an outside sound play F melodic minor and the Bb minor pentatonic. Play some melodies on the turn around and have fun with the slides and stuff,do all this but please enjoy it :)
https://docs.google.com/open?id=0B5qJqMU7g1nHNGVZbDhMUlRNYWs

Keep your fingers solidly behind the ring finger on the fretboard (left hand) and fret one note. Gradually bend the string and stop it at whatever pitch then bend it some more and stop. Try to play definite notes in this manner. STOP when you hit the note you want.Take it up a tone and STOP. This is like Kegel's exercise
and will help you be stable on every note on a bend.To achieve a smooth vibrato exaggerate every mechanical move and master it.Always remember that the start and end notes of a bend have to relevant to the melodic idea you are on. The oscillation of a string to sustain it has to be smooth and musical. This is very critical and separates a musician from a guitar player.

On the topic of vibrato...it can be used in any context to enhance a note,to give it some feeling.One can do this by bending the strings,vertically sliding,overbending and using a whammy. Just played a short blues clip with medium intensity and a few stock licks to demo how the various forms of vibrato can co-exist.Also get this,I am not preaching to you as to how you should play. It's just that my ears are really good and I get disturbed when I hear talented people play badly.Please do NOT get offended this is an open portal and if you think I cannot do what I am saying here,let it loose in print. At the end of the day it's a point of view.Hear it for what it is and absorb it,if its any good :)
http://www.youtube.com/watch?v=eIXIVbRa9vw

Here's a small module on the basics of vibrato. Its basic and I exhort you to please stop with the philosophy and try to see the point and hear it as well. Self criticism is the most important thing in this hearing test.Please follow the instructions and you will hear results.This is the most critical facet to being a decent sounding electric guitar player. I will make a few more giving you all sorts of bends to make a little library of your own.
http://www.youtube.com/watch?v=oosT0RfteWI

The reason why musicality is deep and difficult to quantify besides the 'emotion' is this fact...Every note can be followed by 12 possibilities and this is unique and not completely true.There are 13 options if one were to count silence as a note.The placement of silence will outline a rhythmic character.The longer you are silent makes each of the 12 audible tones even more precious when they are used.To quantify the length of sustain of any note makes the variables 14.To play microtones makes this number infinite. So get this...besides 'emotion' we have shit loads to worry about. This makes the endeavor to play music all that more difficult. The next time you ask me how to play musically,understand that the variables have to be manipulated by you and not me. A few tricks is all a mortal like me can give you.

We learn phrases from George Benson,Charlie Parker and the rest.But examples of phrasing lie all around us. We will pass them by as they beg for a few bucks.But jokes aside watch this little bloke sing the lines along with the snake charmer and his pungi.He is tracking microtonal movements quite beautifully. This clip is courtesy my carpenter Shambhudan who shot this on his phone in Jaisalmer and saw me playing guitar at home. He wanted to share some music from his gaon.Listen to the sounds around you and vocalize them,play them in your instrument.Like I said inspiration is free,education isn't in most cases.Make the most of your gift...the incredible ear.Hey and also the snake charmer sounds like what Zawinul did with tons of gear,in my opinion hahahaha :)
http://www.youtube.com/watch?v=J9Z6yn8yNcE&feature=youtu.be

For everyone playing guitar,be it at a rudimentary level or advanced. It's best that we know the tool ( guitar in this case) as well as we can in standard tuning. If we flip the tuning pegs this concept will have to be re mapped.:). Here goes...
If the low E string is the X axis and the fret is the Y axis...then if the root note i.e 1 is on the low E string....the successive notes on the strings along the Y axis will read...1,4,b7,b3,5,1. Now when you want to find intervals and extensions all you have to do is extend this system with common sense. Its like having intervals on the Y axis and finding stuff that's closest to that fret.i.e. the 6th will be a whole step away from the B string,the #4th will be one step up on the A string and so on.Now try making your own chords. Of course the root can move from the top string and the system wraps around,but like I said being alert at geometry in school will pay off now...Just simple fretboard recognition tools. Yes the B string is weird and is a half step down, but you will map this difference and absorb it if you chart all the notes on a fretboard diagram.
Critical to know the E,A and B strings very intimately as the D and G are whole step displacements of the E and A.Once you know the E,A and B string's you already know 4.And by the earlier rule you will know 6 in time.
Whenever you are hit with #13's or some such highfaluting number it will be easy to find your way if you studied the relative intervals using this system.
So by internalizing simple and logical tools you will be able to find any note on the fretboard.You can as an exercise, start forming chords and number all the degrees of the chord and form extensions using this logic.By knowing the fretboard it becomes very easy to alter scale tones and turn them into devilish ones.
Please read this slowly as it is a logical exercise and needs to be applied. Once you have this down you will be very comfortable :)

Listen up. Draw the A major scale on a fretboard diagram. The notes are A,B,C#,D,E,F# and Ab.Draw these notes as colored dots all over 6 strings and 12 frets. Learn all the positions and play them slowly. Stick this chart in front of you and play on the dots.One at a time,then two,three and so on. Play melodies in one position and then in many. Stop whining about how difficult it is or forget about getting better at this stuff.Here is a small flash video and a message. Do something,and download it. Its easy when its on youtube and you can chose to bin it and not worry. Archive these small clips in a sequential manner.Do it in all keys and you will have attained some control on the major family in terms of sounds.The results as I have always said are directly proportional to your efforts.Do NOT ask me about stuff if you do not do and completely understand this basic exercise.The advanced players,do it as well. No one is too advanced to get their basics solid everyday.
https://docs.google.com/open?id=0B5qJqMU7g1nHelFYaFAzeHZoT2M

Ok here is what should be a practice schedule for beginners to intermediate guitar players.
1. Tune the instrument
2. Warm up mechanically. Play three notes per string in these common combinations : (index=1,middle=2,ring=3,pinky=4) so the permutations are (1,2,3),(1,2,4),(1,3,4),(2,3,4).Where each finger spans one fret from index to pinky. These are NOT musical as you play them on every string across the fretboard. Then try 4 notes a string with (1,2,3,4).Play them evenly and slowly either alternate pick or economy pick,gradually picking up tempo.
3. Take ANY scale and warm up by playing the scale tones ALL over the fretboard. This is easier done by MAKING your own fretboard diagram for that scale.Preferably start with the major scale.Do not overestimate yourself, I have heard 'teachers' fumble badly with this.Do this deliberately playing all the intervals 3rds,4ths etc.
4.Learn the scale on every single string.Then play it in a combination of 2 strings (consecutive and with space between the strings),to generate diads ( 2 note sounds).Extend this to 3 notes (triads) and then chords.Arpeggiate some notes to create some fluid sounds across the fretboard.
5.SING every note you play. Its imperative you burn the sound of the fretboard into your conscious mind.This way you can develop relative pitch without any added expenditure.
6.Now start forming short musical phrases from the scale you have just analyzed.Play purely on the scale tones and use intervals to generate melodies and small motifs.Play these notes singing them as you go and insert some small chordal patterns from the fretboard diagram. Make sure that these little chords follow the melody you are playing. If they are from that fretboard diagram they will always be 'correct'. Its up to you to make them musical. Soon you will be playing single notes and chords together to support the idea in your head.
7.Dedicate a small portion of your practice time to playing 'anything',switch your analytical mind OFF. Ramble through mechanical combinations and arbit melodies,jump ideas and DO everything you can imagine. One at a time and all at once. Scales that you know may just creep in because of familiarity and some unknown parts may just happen.Use your memory to log nice ideas and add them to your 'lick' library.
8. Do this for as long as you live.Add levels of complexity in your routine but never forget the foundation.Play slowly and don't act over smart. This is a fatal error.
9.After you finish please clean your instrument,wipe your strings and put it back in the case.Our climate forces us to take care of our instrument.
Small foot note: I AM NOT A PERSONAL TUTOR. I AM A PERSON WHO WILL HELP YOU WITH ANYTHING WITHIN MY CAPABILITIES.I DO NOT CHARGE YOU ANY MONEY AND IF I DID IT WILL BE A LOT.I LOVE PLAYING GUITAR AND AM DEDICATED TO MAKING MY PALS PLAY BETTER.PLEASE UNDERSTAND THAT I AM YOUR FRIEND AND JUST FEEL THAT I KNOW A FEW THINGS AFTER YEARS OF MAKING MISTAKES AND PLAYING. I HOPE YOU UNDERSTAND THAT MY SYSTEM IS PURELY ONE TO TELL YOU TO HELP YOURSELF AS THIS APPROACH REQUIRES YOU TO APPLY YOUR MIND.WHEN I SAY MAKE A CHART,ITS NOT BECAUSE I WANT YOU TO GIVE ME A COPY.OK?
I love the fact that I can help you in some way. But to maximize any learning you have to develop a respect for the knowledge given and work hard. I cannot stress on this enough.I stay away from my brand of humor on this page for a reason. I want you to improve and its a serious effort. I am pained that people who are so talented are playing very badly. So accept or not I will continually put out material.Its up to YOU to do something about it.
PLEASE WRITE IN FOR ANYTHING YOU WANT ME TO DO.I have one camera and one old laptop. I have guitars and an amp. I will make clips and help you. Just remember its NOT just fun when you are in a process,its education. It becomes fun if you listen to what I'm saying.
Make a copy of this and paste it in front of you,I promise it will help you.I never had the benefit of any of this,not even a guitar growing up so just put your egos aside and DO it.
Dhanyavad.

to focus on something like vibrato learn to sing WITH vibrato.. you will KNOW when you are alone that the way you bend the strings may not be correct. Slowly focus on every micro movement needed to be made to emulate this smoothly.If its a quick one be smooth,if its a slow one be smooth. The start and end point of the note you are applying vibrato to must lie in the scale of the lick you just played.Practice,focus and self criticism is a must to master this.

As promised here is a clip of ideas played around an Am7 vamp.The pentatonics used are Am,Bm and Em. The major scales used are G major and C major. I have also thrown in the sound of the F#m7b5 arpeggio and the A melodic minor which includes the major 7th and is just a fun sound in this case.I have played slowly against my grain lol and played to a rhythm,a loop which you can extract to the end of the video. Cheers and hope it makes some sense.
http://www.youtube.com/watch?v=R8h1Ilnzmjw&feature=player_embedded

just a small deviation for your benefit only :):
Here is a small conceptual note I had made last year. And hope its always relevant this year and the next. Please read it and do whatever you can to make it happen in your neighborhood. Really simple and guaranteed fun if nothing else :). Applies to all musicians and all instruments.
https://www.facebook.com/notes/floyd-fernandes/micro-community-jam-club-projects/10150288275685718

In the scale chart section of this zip folder,you will see columns with Chord types and rows with devices to play through these chords. This information is purely data that enables you to play certain 'shapes or 'sounds' through the relevant chords.The focus will be to consider the primary chord families i.e. Major, Minor and Dominant.So when the videos on each family begin,you can refer to the scale chart and I will print the devices I am using on the screen as well.First one up will be devices for the commonly used Min7 chords...
https://docs.google.com/open?id=0B5qJqMU7g1nHcU5wM0hfUGtzOGM

Before even contemplating playing over changes remember that you have to feel the shape and contour of each chord in those changes. I will in between the fun and games start making small clips on what to play on lets say a Min7 chord,a static chord. Then a Maj7 chord etc. Well before these chords mesh together we will study the shape and tools to deal with each singular chord and juice whatever we can with whatever tools we have. Umpteen books and tutorials will give you a thousand ways. However the sound is the same and we have to learn the ways to express ourselves in the confines of ONE chord.Videos to come...Do refer to the scale chart that has been shared on this page and I will use common tools to make some music happen.

Single note funk ideas to help propel a groove. Important to keep time and when you respect that,it funks harder.You can use this simple lick to construct your very own ideas and generate a whole new vocabulary,not limited by academic boundaries :). Street ideas basically.
http://www.youtube.com/watch?v=gIkLj_NDuD0

As an addition to the symmetric diminished scale that I posted a while back. Here is a dedicated pdf on the scale by the great Don Mock.Do archive these books and follow up on them while I post related stuff. It will make the learning way cooler and easier. The work has to be done on a regular basis and it will show great results.
https://docs.google.com/open?id=0B5qJqMU7g1nHSzVGWHowU244ajg

The beginnings of a set of funk modules for learning really easy right hand techniques. Please abandon all your rules to try this. Its 6 strings and you. Pound away.
http://www.youtube.com/watch?v=EjsSYmI65gw

here's a soundclip of using motifs and some quicker intervallic lines against a linear bass groove. So you can take the 'jazz' sounds when you need them and take it somewhere else when you need that.
https://soundcloud.com/fcubic/sounds-from-wednesday

On the subject of knowing scales in all positions. Imagine this.If we stayed in the same place and played all the major scales or pentatonics (minor) in all 12 keys this would mean super smooth transitions and a really fluid sound.For inter
vallic stuff you could flap all about the fretboard confusing listeners into believing you were playing sensibly i.e lot of scope to faff (I'm a master at this :)). But on a serious note do try to play in one position, all the changes in one position and you will understand the word fluid.Intervallic chaos is not fluid its called floyd.Here is a master of the fretboard Kurt Rosenwinkel taking you through the minor7 changes in whole steps i.e. Fm7,Gm7,Am7...etc. while playing in the lower reaches of the fretboard only once darting to the 9th fret on the high E string. So most of the notes are played in the region from the 1st to the 6th fret.The mode of transport through these changes are the minor pentatonic shape.If you moved this entire exercise a half step up you would learn the other 6 changes namely F#m7,Abm7,Bbm7..etc.Happy noodling :)
https://docs.google.com/open?id=0B5qJqMU7g1nHN3ZkazlPQ2pEUzA

Here is a video representation of the post on playing the 3 Major scales ( B,Eb &G). Hum along whatever motifs you create it will create an illusion that you are making music and not just playing the scale or patterns.The more you play creatively the better you will get. I have always approached seemingly difficult tasks in simple blocks and try to own them. You must try as well :)
http://www.youtube.com/watch?feature=player_embedded&v=4-pIPl1y2oM#!

if you learn lets say the major scale in one key,remember to learn it on each string. This makes transposing it to other keys very easy as these relative shapes are just moved up and down the string. If you knew a shape for C major on the A string then G major on the D string will be the same shape moved a whole step higher.Make simple associations and when you are searching for the 3rd,b9th etc of any key center please remember the notes in a linear way on your favorite string and the 4ths will be on an adjacent one. The moment you find your favorite method to commit this to memory you will be at peace :). Hope this triggers some thoughts on stuff we honestly get completely befuddled with when we are with the instrument. Am sharing purely my perspective because this is how I rationalized the fretboard and came to some conclusions. You do not have to accept MY way but generate your own is what I'm telling you :)

take 2 major scales let say B and Eb.Now after you have figured out both the scales in the SAME area of the neck lets say a position.Slowly play each scale for 'x' amount of time and tell your mind 'hey let me make the jump to the next scale'.So oscillate between these 2 scales a major third apart. Slow down and focus on the transitions between these scales,make the smoothest transitions between the two.The real shit is here in the transitions.So if you were playing a motif in Bb carry on playing the motif in Eb and focus on that one or two note transition between the two.Do this for hours and you will hear the changes in the scale family.Add a G major to the mix and play the three,switching orders smoothly as you go.You will learn the whole neck as this progresses.Its an introduction to playing changes by using simple fragments of the major scale,the mother of all scales.Try it, and I will post a video on how I do this soon.No bloody saying its too difficult in mails to me,try it :)

see I'm a bit of a nut and just play stuff. Here are some short ideas with a drop d.I hope this can trigger some playing of your own and that you can see some cliches being played to get some grounding. Pay attention to the attack and the funk voicings used. These will help in a live context I'm thinking. Do tell me what you think, and if I can clarify certain things it will be cool. Am starting with the rudiments of blues and funk so that essential elements like rhythm get burned into your system,in an informal way. In the sense I'm not even thinking of anything great as I play just some stuff.
http://www.youtube.com/watch?v=rVdbbEw5AqA&feature=youtu.be

to dynamically alter sounds from the instrument...use a pick at different angles (tonal variations also),and fingers to create a wider palette of sounds. As you pick along the length of a string the tone varies quite astonishingly. Play at the bridge and then up at the neck pickup and you will be able to extract some amazing sounds. Like how we really never take to a monotonous sound,it either puts you to sleep or fades to the back recesses of your mind...vary dynamics as you play. Play like you speak,softly then louder,laid back and then with some urgency as circumstances and variable around us change. What I am saying here is please react to stimuli and do not play by rote and repetition only,its an extension of your mind so do not treat it any different :)

A long while ago,a guy called Charlie Parker completely changed the way single note lines were played by blasting these ridiculous combinations of notes and arpeggios over dance tunes later called standards.People have marveled at his genius and several books penned to celebrate his genius. Here is a bootleg book on his lines over chords. I really hope you can try some of these out slowly. You don't have to master them for starters but just see how these notes work on the chords marked.Wish you lots of luck and fun :)
https://docs.google.com/open?id=0B5qJqMU7g1nHWGVac280c2RVdlE

take the chords of your all time favourite tune. Use that little chord pdf,find inversions and play the tune with these. Try to play all the chords in one position making no drastic jumps.Now forget the melody of your favourite tune and start humming some melodies of your own on these chords. Shuffle the chords around and follow them with a melody and vice versa. Enjoy but do not stagnate :)

when you tune the instrument a small tip if you want a firmer lock at the peg.Irrespective whether sharp or flat DETUNE the string and wind upwards to the desired pitch. Tension adjustment in ascending degrees of tension is a common sense method of having the gear of the tuning key to stay in one place. Also the little screw that holds the head of the tuning key to the shaft must be tightened to not have any slack.Hope this is of use :).

before you get to developing a good vibrato on the guitar remember that it is derived from the human vocal vibrato and listen to great vocalists from all genres to understand how vibrato is used to sustain a note. And if you understand vocal vibrato and are musically sound enough to understand what is IN and what is OUT...All you have to do is emulate that.And practice hard.Remember to apply the vibrato only to the end of the phrase and relevant places,overdoing it is not natural.

try picking with the broader side of a normal tear shaped guitar pick. It allows you to grip it with a larger surface area and you can get closer to the strings,a much wider palette of tones and easier to control dynamics.Try.

When playing over say a static Gmin7,you can extract these little voicings and play them rather than just playing one chord in one place. These voices are extracts of Gmin7 (Dorian) or as some people know it as the notes of Fmajor over Gmin7.Try and learn these shapes,they are pretty useful :)

https://docs.google.com/open?id=0B5qJqMU7g1nHMlB4M2FmUXpXSnM

Here is a compilation of a scale chart for specific chords, a chord inversion pdf and modal arpeggios all collated from friends and the internet. Please download and use them and discuss the usage with me if you want :)

https://docs.google.com/open?id=0B5qJqMU7g1nHcU5wM0hfUGtzOGM

here are triads documented by the great Ted Greene. Please download and enjoy this fellows :). So many tunes can come out of these absolutely elementary triads. Since I perceive some laziness in people actually doing stuff here goes...now put your fingers on the black dots and play. Move them to all other keys :)

https://docs.google.com/open?id=0B5qJqMU7g1nHanlGYlJwVGRLNDA

take a song you know,lets say your favorite song. Now make a pact to never play it like you already know it.Do NOT play the same voicings or embellishments. This will give you a basically new sound out of some old material.This is a process of re-invention.You can easily after learning the inversions change the chords around and have a field time doing this.I say take your favorite song because you know the melody really well and have internalized certain nuances,this is therefore the best platform to experiment. Just a common sense way to increase your vocabulary in a musical way. Play different inversions for the chords and for god's sake do NOT substitute the chords as yet :). That is usually misinterpreted and more often than not makes you depart from the song itself,not what we intend. So first things first study the inversions please.

A common question I get asked is ...how do you play such strange jazz chords? To which I say there is nothing strange or innovative in what I play...these are a result of me generating simple voicings by supporting the melodic line that runs in my head.There is no such thing as a 'jazz chord','reggae chord' and so on. Some music requires you to add more to the melody by using the supporting harmony of the chords. Learn the inversions of all the chords and leave some notes out to make easier to digest bits to emerge.The thing is most of us wait for some savior to show up and hold their hands and play 'jazz chords'...wake up it ain't gonna happen :)

Linear notes using the simple process of generating lines from motifs and ideas real time.Anyone can do this if you have the inclination to create your own statement,thankfully without overdrive for me this time :)
http://www.youtube.com/watch?v=m6cmx93F25A&feature=player_embedded

sometimes Karan Joseph and me just reach for some sounds and hope it sounds like music.Its an endeavor to try and make something interesting emerge. One doesn't have to be successful at this all the time just attempt....mistakes et al :)
http://www.youtube.com/watch?v=W7EWoAndha8&feature=youtu.be

if you consider like I have said before 6 parallel keyboards,every move on one string (along a scale of choice),will have the notes on the other strings playing the scale displaced with respect to that string.Therefore playing a note from the scale along with another one from the scale and another one...will give you a fundamental grasp of harmony.Now locate Twinkle Twinkle Little Star and form variations of this melody by including one note from another string along with the main melody.This needs for you to plot the scale lol...so if you do not remember the scale do it to make the nursery rhyme come to life,then slap and pop the strings,then tap your foot,and so on to give it color.:)

to get access to simple melodies say in the key of C Major...plot the fret diagram for the scale. Now take a group of 2 strings and use these diads and form melodies.Play all over the fretboard. These strings could be adjacent ones or ones with a gap :).Lovely things will emerge.

part 2 on the same chord shape namely the D9 thing, deals with playing a lil drums on top of that to get a groove going.Quick triplets to get some funky propulsion :)
http://www.youtube.com/watch?v=NrovZQYkosg&feature=player_detailpage

Here is a simple module on accompanying yourself with a detuned string. Please use a heavier gauge string so that it doesn't flop out on you.And feel free to slap and pop the strings with rhythm or not to make some cool sounds. Hope you get something out of this.:) Will post slap options in Part 2.
http://www.youtube.com/watch?v=ymRMmyRW3zE

like when you were little and had a problem with left and right...you allocate a picture of a favorite turn on some road and commit this to your conscious mind.Similarly knowing notes on a favourite guitar string usually the E strings gives you a kind of knowledge of the brackets of a number series. The rest are embedded in these brackets and we also know the 5th is a power chord kind of thing and the octave is 2 strings away one whole step up. (exception being that bloody B string :)). What I'm saying is take a day and commit a simple system based on YOUR intrinsic logic to map a simple system where you know dead on where an interval lies.This is knowing the tool better and will yield really cool results,the self empowerment of the system will lead you to be more of an individual.If everyone went to Berklee or Numb Nuts or whatever then the music will follow a specific academic path and lead to homogeneity which is highly and utterly boring. So take that day map a system and tell me this is not satisfying.

learn the guitar with a little help from high school geometry. Really simple. If the low E string is the X axis and  the fret is the Y axis...then if the root note i.e 1 is on the low E string....the successive notes on the other strings along the Y axis will read...1,4,b7,b3,5,1. Now when you want to find intervals and extensions all you have to do is extend this system with common sense. Its like having intervals on the Y axis and finding stuff thats closest to the fret.1.e. the 6th will be a whole step away from the B string and so on.Now try making your own chords. Of course the root can move from the top string and the system wraps around,but like I said being alert at geometry in school will pay off now...Just simple fretboard recognition tools. The stuff is right in front of you,use whatever logic you want to remember and reach intervals and notes you want.

the Rasgulloid society meets every once in a while to play music that is unwritten.In a simple endeavor to have fun,play,and eat street food after the proceedings.Hope you enjoy these posts :)
http://www.youtube.com/watch?v=6C5K-vg08-w
Here is an exploration with simple motifs. You can use whatever you want,it tends to sound a little jazzy because that's what I listen to.You can cascade any set of motifs,but remember to take them through some changes to have more fun :)

to play with 'good time', its important to understand that in music 'relative' time is more important than being in time in an absolute sense. Let us assume your drummer switches his perfect absolute time and you are also in your perfect absolute zone both not connected, chaos will be the result.As listeners one cannot generally feel a micro displacement of time when it is together, as it happens through a tune,but one immediately hears someone not in 'sync' with the current moment.The point I am making is make sure you listen to the timekeeper of the band,hopefully the drummer and shift your clock to be with him/her. If you perceive several shifts that you have to make then have a talk with the person after the gig.Its important to keep the music together and for that its important to listen and not gesticulate wildly at an erring member ( who should be listening as well), this looks bad on a stage and sounds even worse.If you have to make displacements good or bad...make them together. No point saying 'I practice with a metronome....because not many of us have unshakeable time.So the moral of the story 'listen to the music you are making'.:)

jam with a friend and let some musical ideas emerge. It will sort out an important aspect..synergy. So many issues come up when jamming with a pal.Time,technique,musicality etc.So yeah do this to emerge sounding more confident :)
http://www.youtube.com/watch?v=HizpcVrXsnE

a small tip for electric guitar players...the impact with which you hit the strings with a pick should be directly proportional to the gauge of the strings. Pick light on light gauge strings and harder on heavier ones.This is neglected and will thin your sound with overdrive. Just a small note :)

The same pentatonics when applied in a chaotic manner creates a different vibe.This sounds like noise emulated on a guitar. This is what I am reaching for here. Some days you want to scratch your balls,the next day eat a steak,fall of a train etc.This is art feel free to do whatever. Even my tongue is out like a Rottweiler but do I care?...NOT.Point being once you learn a few scale positions drag them all over to gain some mechanical facility. Repeat them and make them fit the rhythm and sometimes forget the harmony...occasionally come back and see the way the line and idea will resolve. Its like carrying garbage all day and finally reaching the dumping ground...resolution. So yeah play noise too, Have fun and breathe a little,or in my case wank :)
http://www.youtube.com/watch?v=1BRYr4w7R-0&feature=player_embedded

Once you know a few pentatonic lines and want to play say some blues,you can embellish and make note transitions with simple vibrato and bending technique. You do not need pedals or a great amp to create an illusion that you have a big one.Dig hard and extract melodies from the five notes and all the spaces in between. Bending strings dissolves the frets so its a cool way to emulate the slide ( I have lost and broken all mine). So here is a short clip on playing the blues with traditional cliches and some nuance. Hope you like it and cop some sidey lines :D
http://www.youtube.com/watch?v=w0tPwf9_Vrg

for more options on phrasing on a Min7 chord you can use the minor pentatonic in the 1,2 and 5th degree. i.e. for Amin7 you can play the A,B and E minor pentatonic scales.Also you can play the tones of Gmajor, Cmajor and F major.i.e major shapes on the b3,b6 and b7 degrees. Please forget the fancy modal names just try these sounds in as many positions as possible.Hope you can have some success with these tools :)

based on the pentatonic exercises that have been posted,here is a little playing based on those principles. This is not jazz just some noodling on just Min7 chords hope you can extract some sounds out of this and realize that you can do whatever you like within the parameters :)...or without :D
http://www.youtube.com/watch?v=LYMpB23-yIA

When you are used to playing the major scales,pentatonics slowly all over the neck...Imagine a chord progression moving over definite intervals like ay Fm7,Gm7,Am7,Bm7,C#m7, Ebm7,Fm7....take a device like the minor pentatonic in the root key of each chord and play fragments for say 4 bars before making the shift. To make it super smooth play all the different pentatonics in the same position. Its the lateral displacement along the neck that makes the registers jump drastically. So try playing all these ideas in one position.Then repeat the same in another position and you will discover some really cool transition lines.As usual please plot the pentatonic scale on the neck and learn them all over the neck it will free you of stress :). Do this exercise up a half step i.e. F#m7,Abm7... and you will have done all the 12 minor pentatonics known to man,simply and painlessly. After this, make music on the progression to avoid sounding like an abacus :)

a recap of the symmetrical scale...in pictorial form. I know you may be a little lazy to plot it :D

when you hum the major scale (in any key),try this even when you are not with your instrument.Let say you hum do re me fi so la ti..
Start with 'do' and lets say 're' and complete a melodic motif. Then get one with 'do' and 'me' and so on. Register these melodies in your mind and they will lend a particular sound to these intervals. The one and two,the one and three,one and four,etc.This will cement the primary intervals. Then you can start with three note displacements and so on. They all have different sounds is what I am saying. Its just an easy way to know this 'feeling' and that 'feeling' :)

options for Maj 7th chords...use the triads from 1,2,3,4,5 degrees and locate them all over the neck.Superimpose them over the sound of a Major 7th chord :)

When you learn a new scale learn to spell it. Plot the notes on the guitar fretboard chart.This is a static snapshot of all the routes you can take on the fretboard for this scale family.View each string as a keyboard and now consider 6 parallel ones.When you plot the most significant scales and study them slowly like this,you will generate your own lexicon of voicings and licks that will be your very own. e.g.take the melodic minor (1,2,b3,4,5,6,7) and plot it in any key.Sequence the notes intervallically,screw with the rhythm,and enjoy the sound. Play the scale on every single string and then add notes from the adjoining strings to have the scale move in diads,triads,chords etc.This will cement the sound.I love mixing all these devices to make sounds, hope it makes sense.The guitar as an instrument starts out being very visual,it has to become embedded.This is the goal :). Am playing a small gig tomorrow in Pune and will give you a few more ideas when I'm back in the night. Do have a fun time practicing :)

On the subject of finding your way around the fretboard and are hopefully now familiar plotting notes on a fretboard template here goes.Take the C major scale and plot all the 7 notes on the fretboard.As an elementary quiz if you grouped the 1,3,5,7 you will find all the inversions of the Major Seventh chords (C). You will see some pentatonic formations,triads,really cool ideas in diads (2 notes) and arpeggios.To familiarize yourself with the sounds of just the 'simple' C major get ready to be amazed at the amount of material available without even altering any of the 7 notes.Use wide intervals,find hidden sounds. Study all the intervals in all octaves available and try playing them against a pedal tone of C.After the data burns itself into the back of your head start making small melodies and take them to different parts of the neck. Please do this and do NOT presume you already know,remember stagnation is a result of overconfidence.I do these simple things all the time to keep myself honest.Hope you follow and apply this cool tool of finding stuff for yourself :)

A cool thing to do is take a small melody...say a nursery rhyme or a bollywood melody. Take 4 notes from that tune,mutate them to be major,minor or dominant to get 3 ideas out of one. Take that motif and move it over the changes to your favorite tune.Do it for all the random melodies that come to your mind.Use these melodies as springboards to new ones. Try not to blindly play over changes with licks for the simple reason the next time you hear those chords you will be playing the same stuff. This is what makes people stop playing and listening. Use your own library of melodies ( and we know thousands),to make your own licks.

Take a scale which is symmetrical on the neck like a half whole diminished scale.The intervals from any starting point are H,W,H,W etc.Let us assume you start plotting the notes from G.The notes will be G,Ab,Bb,B etc.Continue on all strings on all twelve frets and you will get a lattice of dots. You will notice the 4 major triads that make up the 8 notes of this symmetrical scale.Namely G,Bb,C# and E.Not only will you get the shapes of all the 4 triads all over the neck you will observe some amazing patterns and lines you can flick for free :). This scale can be used on a G altered chord for starters.Circle all the triads with a colored pen. And learn all the primary shapes. This is a simple way to see the way a guitar is laid out geometrically.So plot away. Get an excel sheet printed with the fretboard and make photocopies. Use this for your scale charting R&D :)

Here is a simple trick.Take a A4 size paper and draw six strings and 12 frets ( a neck diagram).On the side write a set of chords say Amajor/C#min/D major/ D minor.Now for each of these chords write down the chord tones namely ( A,C#,E),(C#,E,Ab),(D,F#,A),(D,F,A). Now for each of these triads for the chords above plot all the notes with different color dots all over the neck.You will get 7 A's,6 C#'s,8 E's,6 Ab's,6 F's,7 D's.Counting as firmly as you can slowly play through each set of triads as the corresponding chords move.Mix the octaves and strings as you get comfortable.Do not play quickly, and you will soon be feeling every change that occurs.Please try this with every chord progression you hear or see.You will be able to outline the chords with simple fragments before you start with scales,arpeggios and other devices.As you quietly do this, I will gradually give you more devices per chord never forgetting the fact that you KNOW the chord tones.Hope you enjoy this its a primary and imperative exercise to align your ears with chord changes.Paste the paper on the wall or on a music stand and religiously make simple tunes based on the 3 notes per chord principle.You will soon be able to locate a note on any string improving fretboard recognition.

The concept of my roaming school is to give a musician a close perspective of how creative playing can be approached while assimilating the tools,not after but in parallel.It fundamentally empowers every musician to unlock their own creative thought process and apply concepts rather than spend years committing the tools of the trade to memory.Its about soaking up the vibe as we learn and this will accelerate any learning process.The modules can be guitaristic and for the general musician as well.The concepts of harmony and advanced musical theory will be dispensed at a rate dictated by the students at the clinic. This will ensure a long lasting impact and a solid grasp of the material discussed at these sessions.
To elaborate on the knowledge imparted here is an outline of objectives covered,essential to making you a sounder musician/guitar player.
1.Tone production and use of basic equipment to get a good sound at all times.
2.Fundamentals of vibrato and essential technique which are critical to playing decent electric guitar.
3. Focus on time keeping and rhythm chops to comp behind a vocalist and other instruments.
4.Analysis of scale types and fretboard navigation to internalize the instrument.
5.Playing over static vamps and approaching playing over changes.
6. Advanced concepts of playing over changes and improvisation including understanding the concept of playing 'out'.
7.Personally supervised approach over the material discussed along with playing over backing tracks.
8. Discussion on the roots of music and appreciation of all its forms to really imbibe the vibe of what you play