The Lydian Mode is created or formed by raising the fourth degree of the major scale by one-half step. This creates a very bright sound. As you may or may not know, each guitar scale and/or guitar chord has it’s own color. The color ranges from dark to bright. Minor scales are darker whereas major scales are brighter. The same applies to guitar chords. It is the color of a scale or chord that evokes a desired emotion from the listener.

Since the Lydian Mode is bright in color, it will evoke a bright or light emotion from the listener. Musicians are like painters. We use color to evoke emotion.

Like all other guitar modes, there are certain, specific, and essential elements necessary in order to fully establish and effectively utilize the Lydian Mode.

First, the tonic or root note of the Lydian Mode must be established. In other words, if one is to establish the “F” Lydian Mode, the the “F” note must be used. It is the tonic note, or tonal center.

Secondly, the major third scale step must be used. It is the major third scale step that creates the bright major sound.

Last, but not least, the raised fourth degree of the Lydian Mode must be used. This is an essential element (characteristic) of the Lydian Mode. Don’t leave home without it.

There are also essential chord characteristics (elements) that must also be established in order to play true Lydian chord progressions. Unlike previous modes that we have discussed in previous articles, there are some very important general rules that must be followed when utilizing the Lydian Mode and Lydian chord progressions.

First, the #IV dim. chord should always be excluded from the Lydian progression. For example, for the “F” Lydian tonality, one should avoid the B dim. triad (#IV dim.). Also, the V7 is not available in or for an authentic Lydian progression.

The I MA chord (the Tonic chord), must always be established and one of the other strong characteristic Lydian chords should always be utilized (II MA or VII mi.).

The strongest Lydian chord progression is the I Ma progressing to the V Ma, then progressing back to the tonic I Ma.

Therefore, the best and strongest Lydian progressions are as follows and are applicable to the “C” Lydian tonality:

1). I Ma-C, II MA-D, I Ma-C. 2). I Ma-C, VI mi-A mi, II Ma-D, I Ma-C. 3). I Ma-C, III mi-E mi, II Ma-D, I Ma-C. 4). I Ma-C, VI mi-A mi, VII- B mi, I Ma-C.

The preceding examples of Lydian chord progressions are very strong Lydian chords and deliver the best results when thinking in terms of strict Lydian application.

The reader will notice that, once again, triads are used in all of my examples regarding modal chord progressions. This is for very good reason. Triads are basic chords which contain the essential elements for each mode (see previous articles on modes). Extended chords have a tendency to conflict with strict modal application. It’s best to use triads. This way, any extended modal scale tones will act, in essence, as passing tones, and will cause less conflict in a strict modal application.

Can one use extended chords in a strict modal application? Yes and no. We’ve already discussed the best applications as dictated and expected by the so-called strict theorists. However, music is a system of sound. When it comes to sound, almost anything is fair game these days. It’s all about you, the listener, and the color of music. What portrait are you attempting paint? What do you want to convey to the listener? These are questions that only you can answer. Whatever your answer, play and create wisely. Remember, it’s not in your best interest to confuse your audience. Keep things simple.

Be sure to view previous articles regarding different modes and applications. I’m sure that you’ll find value in those writings. Until next time.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

In terms of strict theory, the Dorian Mode is created by altering the 6th degree of the Natural Minor scale, hereafter NM. More specifically, by raising the 6th degree of the NM scale. Once the 6th degree of NM has been raised, Dorian has been created. However, Ultra Guitar Method students do not have to consciously be concerned with scale tone alterations, because they are automatic and already under the fingers.

Strict theorists refer to the altered 6th of the NM scale as the Dorian 6th. Further, a very strict theorist will anticipate hearing the sound of the raised 6th in both scale (solos) and chord application (chord progressions).

Many instructors and players alike, are seriously confused when it comes to the inner workings of a strict modal application. Perhaps this is why many can only go so far with a theoretical explanation of Dorian or of any other mode. For example, how many times have you heard a guitarist exclaim “Hey, I know the modes”. OK. Then what? Where does one go from there? Is there any further explanation? Absolutely there is!

I’d wager a bet that the vast majority of players AND instructors have no idea of the in-depth application one can achieve when truly aware of the theory surrounding the Dorian Mode, or any other mode, for that matter. All it takes is an authentic understanding (education) of the related music theory and how all of that information is applied to the guitar fingerboard.

My students are smiling right now…I can tell, because, an in-depth study, analysis, and application of all of the modes and all related theory is a very small part of the overall Ultra Guitar Method program. Further, my students have to spot this stuff instantaniously (all applicaple theory), adjust and then play through the changes in real time. Does this sound a little scary? Well, it’s not. If you’re not getting this kind of instruction, then search for a more knowledgeable instructor.

Many players and sadly, many instructors, fail when approaching strict modal application. They simply do not understand how to create the “stand alone”, unique modal tonality and quality of Dorian (chords, scales, and progressions).

This, then, is where this article really begins. First, I’ll approach this subject in it’s easiest form of explanation, and then progress to a more in-depth analysis.

For the sake of example, let’s examine “D” Dorian. The scale tones for “D” Dorian are D-E-F-G-A-B-C-D (eight tones to the octave). Remember, modal application dictates the use of seven tone scales (eight tones to the octave). This is referred to as a Diatonic Scale. Not pentatonic…diatonic. Also, for this example, presume that the altered NM scale (the raised 6th) tone is already present. Therfore, the melodic structure of Dorian (for this example) has been established. But what about the harmonic structure (chords and chord function) of “D” Dorian? This is where it gets a bit sticky, but we’ll get through it.

In the spirit of simplicity, it’s best to begin understanding Dorian harmony by thinking in terms of triads. Ultra Guitar Method students know that they are able to fully extend these chords (four, five and six part chords along with certain altered notes) for a super application of Dorian. In fact, an over-the-top application of Dorian (I just love over-the-top stuff, don’t you?).

For those of you who already have a handle on the theory and application of scales and progressions pertaining to Dorian, let me share some of my own personal favorites with you.

First, the quality of Dorian is minor. Hey we all know that…right? Just look at the relationship between the root note of the chord and the 3rd. If the interval is a minor 3rd above the root note of the chord, it’s a minor chord. Whew….this is like giving birth to a baby!

There are essential elements that MUST be established in order for Dorian to emerge.

1.) The tonic note MUST be established! How can one play a “D” Dorian scale without playing the tonic note? Come on….we all know that we can jam without playing the “D” note. I’m not talking about that. I’m talking about a strict modal tonality. Establish the tonic note!

2.) The minor 3rd scale tone must be used. Share with your audience the beauty of minor. Besides, if there’s a PhD. in the audience, he/she will be expecting to hear it. Don’t place too much thought in what the “so-called” theorists might be thinking. Believe me, if you’re doing it right and truly have a calling, they’ll be envious of you. Been there, done that, have a tee-shirt.

3.) The raised 6th (NM raised 6th) scale tone must be used. This is what makes Dorian…Dorian. Once again, those who study Ultra Guitar Method are smiling, smiling, smiling!

With all of that said, there are particular chord characteristics that MUST occur. Remember, we’re examining STRICT modal approach here. They are as follows:

1.) The tonic i minor chord MUST be established. In “D” Dorian, this would be Dmi (triad). This is the tonal center. You’d definitely want to keep bringing your listener back to the tonic chord.

2.) one MUST, in addition to establishing the i minor, use at least one the other triads (exclusive to Dorian tonality) that contains the Dorian 6th. For example, the ii minor (in this case, Emi), the IV MA (in this case, GMA), or the vii dim (in this case, Bdim).

One of my favorite Dorian progressions is the i mi (Dmi) progressing to the IV MA (GMA). Similar to that of, “You’ve got change your evil ways,Baby” (Evil Ways: Carlos Santana). Gotta love Santana. Smart guy! Great player! Millions of dollars on a two chord vamp….go figure!

Other favorites (my favorites) are the i mi to the ii mi (Dmi-Emi), and the imi (Dmi) progressing to IV MA (GMA), progressing to the ii mi (Emi), progressing to the imi (Dmi), progressing to the bVII MAJ (CMA), progressing BACK to the i mi (Dmi). Note: always bring your listener back to the TONIC center.

Last, but not least, another favorite is the i mi (Dmi), progressing to the bIII MA (FMA), progressing to the IV MA (GMA), progressing to the i mi (Dmi). See, once again, we bring our listener back to the tonic i mi chord.

OK. This is the simple stuff. I have a GREAT idea. I’m willing to really dig in with DORIAN and all other modes, if the readers of this article really want to learn. How will I know? Email your requests for continuation.

That’s the deal on this one. Let me know that you’re reading, learning and interested and I’ll continue. Simple!

Until next time…practice, practice, practice!

Ultra Guitar Method™

© 2007-2008 Michael E. Fletcher. All Rights Reserved Worldwide.

The Aeolian mode (also known as the pure minor scale or Natural Minor), as a stand alone musical mode (scale), is absolutely beautiful in sound and structure. Personally, I believe the Aeolian Mode to be the center of the musical universe. I, among others, believe this to be true for many reasons. Therefore, several of these reasons will be discussed throughout this article. You then, the reader, can decide for yourself as to the importance you place on this particular mode.

The quality of the Aeolian Mode is minor (minor 3rd interval between the root note of the scale and it’s 3rd). For purposes of application, the following elements apply:

1) The tonic note of the Aeolian mode must always be established. In other words, if we were analyzing a C Aeolian scale, the root note C must be voiced (established; played). It’s always important to establish a tonal center with any mode.

2) The third scale step must be used in order to establish the minor quality of the Aeolian Mode.

3) Only the natural 6th and 7th degree scale tones (no alterations) be used to attain and preserve the Aeolian modal flavor or essence.

Thus far, we’ve established the tonic note, the minor 3rd, and the use of the natural 6th and 7th degree scale tones for the Aeolian mode. It’s safe to say that Aeolian, at this point, has been born.

It’s helpful to think of the Aeolian Mode as being rooted on the sixth degree of the major scale. For example, the scale tones for the C major scale are C-D-E-F-G-A-B-C. Therefore, the Aeolian root note would be A (rooted on the sixth degree of the major scale). Thus, A-B-C-D-E-F-G-A (Aeolian). Do you notice that the tonic note is present? Do you notice that the distance between A and C is a minor third interval? Also the 6th and 7th degree scale tones are natural (no alterations). This is why I offered this particular example in the key of C major (key of no sharps, no flats). It’s easier to keep track of the theory.

keep in mind that, the actual theory involved here, ironically infers altered scale tones once we discuss key signatures other than the key of C major (key of no sharps). In the key of C major, half steps automatically occur between the 3rd and 4th degrees of the major scale, and then once again between the 7th and 8th degrees of the C major scale (no alterations are necessary). In every other key signature, the degrees of the scale must be altered (using sharp signs or flat signs) in order to create the specific formula needed (whole steps and half steps) to establish a major scale.

Once again, for purposes of this article we will be utilizing the C Aeolian Mode. By adding some difficulty, the learning process will be authentic. Therefore, prepare yourself for just a little confusion. However, with some concentration, any initial confusion should clear up shortly.

The Aeolian Chords are: I minor, II diminished, bIII major, IV major, V minor (7), bVI major, and bVII major. There are typical and then, very strong Aeolian chord progressions. We’ll examine both in this article.

TYPICAL AEOLIAN PROGRESSIONS: study the following progressions and transfer them to your guitar.

1) I minor (C minor) progressing to the bVII major (Bb major), progressing to the I minor (C minor), progressing to the bVII major (Bb major), progressing to the bVI major (Ab), progressing to the bVII major (Bb), progressing to the I minor (C minor).

NOTE: Notice that we brought our listener back to the tonic I minor (C minor). It’s very important to establish a tonal center.

2) I minor (C minor) progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the I minor (C minor).

3) I minor (C minor) progressing to the bVI major (Ab), progressing to the IV minor (F minor), progressing to the V minor (G minor), progressing to the IV minor (F minor), progressing to the I minor (C minor).

4) I minor (C minor) progressing to the bVII major (Bb), progressing to the IV minor (F minor), progressing to the I minor (C minor), progressing to the V minor (G minor), progressing to the I minor (C minor).

5) I minor (C minor) progressing to the V minor (G minor), progressing to the I minor (C minor), progressing to the bIII major (Eb major), progressing to the IV minor (F minor), progressing to the I minor (C minor).

NOTE: Do not emphasize the bIII major because it tends to suggest the I major chord in the actual key signature. This takes away from the Aeolian flavor.

6) I minor (C minor) progressing to the IV minor (F minor), progressing to the bVII major (Bb), progressing to the bVI major (Ab), progressing to the I minor (C minor). The I minor, bVII major, to I minor are very strong Aeolian progressions, as well as the I minor, bVI major, bVII major, to the I minor.

It’s best to think of using triads (three part chords) when engaging in an Aeolian progression. My personal students are taught how to extend all chords to their fullest diatonic range. This adds flavor to any progression but will, most likely, annoy the strict theorists. There’s something to be said about Pop-Rock; we can get away with a lot of rule breaking and our audiences love it.

In the end, music is based on sound. All of the theory in the world is just theory unless analyzed, practiced, and implemented. The guitar is a wonderful instrument. We should all strive to continuously educate ourselves in order to unlock it’s endless secrets.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

In order for a true Mixolydian tonality to emerge, the tonic note must be established, the major 3rd scale tone must be voiced, and the lowered 7th scale tone must be used. Otherwise, Mixolydian tonality is not authentic.

There are some general rules applicable to Mixolydian chords and progressions. For example, one must always use the I major chord (this establishes the tonic home-base for the listener), and the V minor or the bVII major chord(s) must be used so that the b7th scale tone is actually sounded. For this particular article, we will be analyzing the C Mixolydian Mode (scale) and it’s corresponding tonality (chords and scale tones).

The following chord progressions are strong Mixolydian progressions. It’s best to think in terms of triads when using the specific chords necessary to portray Mixolydian tonality. However, when these chords are extended to their diatonic 7th’s, 9th’s, and 13th’s, a very contemporary flavor and sound will emerge.

1) I major (C major) progressing to the bVII major (Bb major), progressing back to the I major (C major).

2) I major (C major) progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the IV major (F major), progressing back to the I major (C major).

3) I major (C major) progressing to the IV major (F major), progressing to the bVII major (Bb major), progressing to the I major (C major).

4) I major (C major) progressing to the V minor (G minor), progressing to the I major (C major).

5) I major (C major) progressing to the V minor (G minor), progressing to the VI minor (A minor), progressing to the IV major (F major), progressing to the I major (C major).

6) I major (C major) progressing to the V minor (G minor), progressing to the IV major (F major), progressing to the V minor (G minor), progressing to the I major (C major).

7) I major (C major) progressing to the V minor (G minor), progressing to the bVII major (Bb major), progressing to the V minor (G minor), progressing to the I major (C major).

Note that in all of the above referenced chord progressions, the tonic was always established. In other words, the listener was given a strong starting point for tonality and a strong return to the tonality. Always remember to define a strong tonality for the audience. Subconsciously, a listener doesn’t enjoy being left up-in-the-air musically. Give them something to hold on to.

The Mixolydian Mode, as with all other modes, has it’s own unique characteristics. It is beneficial for all guitar players to learn (or remember) these characteristics. The small details can, sometimes, make the difference between a great guitar solo (or chord progression) vs. a mediocre guitar solo or performance. But this is just the beginning. We’re barely scraping the surface here. As any of my students would testify, the rabbit hole gets deeper and deeper. However, their actual education gets easier and easier. The application becomes automatic for them.

It’s absolutely refreshing and empowering to approach an authentic playing situation with confidence. How is this achieved? Education and practice. There’s mental and there’s physical. One without the other is incomplete.

There are many guitarists who play extremely well. However, the truth be known, there are, most likely, giant gaps in their understanding of key signatures, key changes, chord construction, scale application, intervals, substitution principles, and much, much more. Does this make them any less of a musician (in their own realm) than anyone else? Of course not. Could they become better as a result of a pro-end education? Absolutely yes.

Something as simple as the Mixolydian Mode, it’s analysis and understanding, has the potential to launch an entire new desire to progress as a guitarist. It’s amazing how much music can result from simple concentration and practice. As a player, there’s good and there’s great. The difference is the decision to progress.

For those of you contemplating guitar lessons, make sure that you are well matched with your guitar instructor. Define your goals and don’t waste time. If your goal is to play a few songs and strum a few chords, then almost anyone can help you with that goal. If your goal is to progress beyond your favorite artist, then you should aim for the best-of-the-best for instruction and educational material (theory and application).

Until next time, practice, practice, practice.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

In general, guitar scales and guitar chords are a must-know for every guitar player. The depth of each player’s knowledge is relative only to the desire of each individual guitarist. For example, some guitarists can play a few guitar scales and guitar chords, but have no desire to truly understand the music theory behind those scales and chords. Other guitarists thrive on scale and chord construction, diatonic and chromatic relationships, and usage (including substitution principles).

This article is intended for the intermediate and professional guitarist. It is also intended for the advanced beginner who has decided to advance to intermediate and then on to professional levels of proficiency.

Learning and practicing guitar scales is essential to one’s growth on the instrument. If one truly desires to learn to play guitar, then guitar scales must become part of the learning process. Of course, the exception is for the campfire type of guitarist. Playing a few songs at the beach doesn’t require an in-depth study of guitar scales.

As the title of this article suggests, one can practice guitar scales and have fun with music theory at the same time. In fact, if one is practicing correctly, recognition of music theory should be occurring simultaneously along with the mechanical practice. Let’s play a game with guitar scales and music theory. This is an easy game to play, yet extremely profound in application.

First, we must establish the foundation for the game. Therefore, we’ll utilize the major scale along with it’s construction and function within a diatonic tonality. Further, and in the spirit of simplicity, the C major scale will be referenced for explanation purposes.

The C major scale (diatonic scale) consists of eight notes (scale tones) to the octave. For example, C (1)-D (2)-E (3)-F (4)-G (5)-A (6)-B (7)-C (8) represent the notes and degrees of the C major scale. In theory, these notes are represented as I-II-III-IV-V-VI-VII-VIII or I (VIII always means I). All of these notes and numbers represent the players in our upcoming game.

The purpose of the game is simple. However, an explanation for playing the game is appropriate in order for one to fully understand the essence of the game.

Years ago, one of my students asked me how many different ways the major scale could be played. At the time, I was teaching in Hollywood California. I instructed my student to go grab the Los Angeles phone book (sitting on top of an amplifier in my recording studio), and bring the phone book to me. Baffled, my student complied with my request. I opened the phone book and asked my student what the population of Los Angeles was. Of course, the answer is millions of people. Millions of people results in millions of telephone numbers. Hence, the name of the game is Playing The Phone Book.

The rules of the game are as follows. The numbers of any telephone number are matched with the corresponding degree of the major scale. For example, the telephone number 576-3321 would translate into playing the following notes V-VII-VI-III-III-II-I or G-B-A-E-E-D-C (5-7-6-3-3-2-1). When the number 9 is encountered, it means to skip to the next note. When a Zero is encountered, it means to repeat the previous note or command. When the number 8 is encountered, it means the same as the number 1. How would you play the phone number 236-5431? How about 652-3800? How about 871-9056?

How many phone books would you suppose exist in the United States? How many phone numbers would you suppose exist in the United States? How many different ways (presuming you understand the phone book game) do you think the notes of the major scale can be played? Millions! That’s right, millions.

By playing the phone book, one develops an awesome awareness of note location and note function. There are hundreds of variations of this game that I teach to my willing students (for scales, chords, and substitution principles). The results are staggering for both fingerboard awareness and knowledge of music theory.

The next time you find yourself with a little time on your hands, pick up the phone book and play it. However, be ready to receive a few strange looks from your loved ones and friends when you attempt to explain your actions. That’s also a part of the game. You know, it’s called consequence. Just kidding! Have a great time playing the phone book.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

As we have previously discovered, the Aeolian Mode is a minor scale. It is also referred to as the Pure Minor Scale or the Natural Minor scale. It has several unique characteristics both in sound and application (see previous article for explanation). Further, the Aeolian Mode (scale) is rooted on the 6th degree of it’s respective major scale. Once again, read the previous article for all of the essential details surrounding the Aeolian Mode.

As guitarists, an important element of performance is to establish a tonal center for our audience to hold on to. Tonic absolutely rules when establishing any tonality. What is meant by tonality? All of the notes and chords that belong in or to any piece of music.

Try this simple chord progression. Play an A min 7 chord for two measures. Progress to a D min7 chord for one measure, then return to the A min7 chord. We just established a tonality; a tonal center. The A min7 chord functions as the I minor (the tonic, home base). The D min7 chord is a great movement away from the tonic and functions as a IV minor. Returning to the A min7 chord (I minor), after playing the IV minor (D min7), is like a breath of fresh air. Everything sounds right.

The Aeolian Mode (Natural Minor Scale) played at the fifth fret (A), will establish the melodic tonal center for the above referenced progression. In short, we just created a minor tonality both in harmonic structure and melodic structure.

The associated major key signature for this example is C major. Remember, the Aeolian Mode is rooted on the 6th degree of it’s own respective major scale. A is the 6th degree of the C major scale. Therefore, it is referred to as the Relative Minor for the key of C major (see previous article).

Relative Minor and Parallel Minor key signatures are great tonalities to establish in order to take your listener away from the respective major scale. It is this movement away from the major tonality that provides interest and color for the listener to experience. Tonality and movement (musical motion) is everything when painting a musical portrait.

In my opinion, Parallel Minor is the greatest an best movement away from the major key signature. A I minor, IV minor progression in Parallel Minor is C minor7 to F minor7. This is a complete departure from the major key (C major) tonality. In the key of C major, the I chord is C major and the IV chord is F major. In the key of C parallel minor, both the C major chord (I major) and the F major chord (IV major) become minor chords (the 3rd of each chord is lowered by 1/2 step to create minor). Note that when Aeolian is played as Relative minor, the chords still reflect the major key signature. There is more contrast when played as Parallel minor. When Aeolian (or any of the other traditional minor scales; subjects for future articles) is played at C, it is referred to as parallel (key of C major) minor to the key of C major. Therefore, for the key of C major, there are two traditional minor key signatures; Relative and Parallel.

This article is a very basic approach to the two types of minor key application. For an in-depth analysis, it’s best to seek out an instructor or program that is very descriptive. The intent here, is to merely skim the surface with some of these concepts.

Once again, it’s important to become educated in music. An authentic understanding of music theory will help in all areas of music. Understanding the function of scales and chords enhances one’s ability to compose, perform, arrange, and produce music. Knowledge is power.

Contrary to what some might think, obtaining a great foundation in music theory doesn’t take years. It takes the desire to learn and a logical approach to these principles. A professional guitar course can chop years off the time it would take for one to learn these concepts in a traditional college or university setting.

There are many things to consider when establishing a minor tonality. Too many to discuss in this article. However, many of these subjects will be addressed in future articles. Stay tuned.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.

Learning guitar scales is the only way for one to gain knowledge of melodic structure on the guitar fingerboard. Practicing scales develops left and right hand control, picking technique and awareness of factors such as strength and endurance. If one ever expects to engage in long melodic guitar solos, then practicing scales is the only vehicle to that end.

How often and how long should one practice playing guitar scales? It depends. Beginners should practice for at least one half hour to one hour daily. Experienced players should practice their scales at least one or two hours per day. How about the advanced professional players? Believe it or not, some guitarists practice five, six, and even seven hours per day (myself included, when performance is pending).

All of the information referenced above, also applies to learning and practicing guitar chords. New strength and endurance is realized as a result of dedicated practice of guitar chords. The left and right hands use muscles uniquely different from those utilized and developed by practicing and playing guitar scales. This is all part of necessary development as a guitarist. Guitar chords are essential in gaining awareness of harmonic structure on the guitar fingerboard. When melody meets harmony, beautiful music occurs. However, the real trick is the nexus between the two. Enter the dragon; music theory.

As a guitar instructor (35 years), I would approximate that at least 80% of all of my students (intermediates and professional players) become very nervous when they take the plunge into learning music theory. Especially music theory designed exclusively for the guitar. Perhaps they were confused in the past when confronted with the college blackboard. I’ll bet many readers remember sitting in music class and wondering what the professor meant by all of those chalk marks and symbols that were drawn on the blackboard. This for many, was very intimidating. Further, many can not make the transition between the blackboard and the guitar fingerboard. I have great news. It’s really not difficult at all. In fact, theory is simple when presented and taught in a logical, step-by-step manner. Therein lies the problem. There aren’t many guitar lessons or guitar instructors available that have a professional and contemporary approach for someone who desires to advance their guitar skills and knowledge of music theory.

Are guitar lessons essential? Once again, it depends. We’ve all heard the stories of certain guitar players who rose to the top of the charts without ever taking a guitar lesson earlier in life. This is my favorite type of success story. Why? Because whenever an individual listens and follows his/her inner calling, it’s always a good thing. Many would call it faith (myself included). Others would call it luck (myself included). Some would insist that it is a result of education (myself included). Further, there are those that would call it hard work (myself included). One thing is for sure; there is no magic wand involved here. Mastering any instrument requires a burning desire and an absolute commitment to achieve a desired result.

It really doesn’t matter what your level of musicianship is. What matters is defining your goals as a guitarist. Is your desire, as a guitarist, to be able to play a few songs around the campfire(or wherever)? If so, any local music store will provide you with a guitar instructor who can help you attain that goal. Do you envision yourself playing for thousands of fans in a major concert arena? If so, then seek out the type of educational resources that will help you to achieve that particular level of musicianship and knowledge of music theory. Be very accurate with your goals and desires. Don’t waste time. Life is short. Live it.

No matter what your goal as a guitarist, it all starts with the practice of guitar chords and guitar scales. Remember, a good foundation is essential. Become strong as a player. Educate yourself. Believe me, your audience will appreciate your hard work.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

Keep in mind that many guitarists are satisfied with their ability to play just a few songs here and there. There are many guitarists who enjoy performing in clubs for larger audiences. Others strive to become accomplished nationally and internationally. The practice habits for all are different, because the goals are different.

For the purpose of this article, I believe it’s safe to say that those who enjoy playing a few songs here and there, will, most likely, bypass the rigorous schedule of scale and chord practice.

For the intermediates, advanced, or professional players, scale and chord practice is absolutely essential. In fact, daily practice sessions are in line with these levels of musicianship. Why? The development of strength, endurance, recognition of melodic and harmonic structure, and, of course, more facility on the guitar.

The leap from good to great on the guitar is actually a short distance. Shorter than one might think. It’s really all about the level of desire and commitment one has, that will determine the actual distance. However, willingness without action equals fantasy. Good intent means nothing if one is not prepared to act.

None of us believe that, as guitarists, our fingers somehow magically end up on the correct note, the correct string, at the right time, merely by accident. In fact, a great melodic solo and chord work is generally reflective of many years of pure practice. It’s almost a guarantee that behind every great guitarist, there are thousands and thousands of hours of scale and chord practice. It’s important to remind ourselves of all the benefits as a result of this hard work.

For starters, practicing scales develops finger strength, wrist control, picking techniques, pivot techniques, thumb placement, fret logic, and a multitude of other essential elements needed in order to execute in a professional manner. By practicing scales as scales (not musical statements per se), we learn very good habits and general rules of performance. We also learn that rules are made to be broken. When we, as experienced guitarists, break a rule, we at least know that we are, in fact, breaking a rule. Further, we all know that it’s permissible to break certain rules due to the impositions of certain styles of music, among other things.

For the experienced guitarist, I truly believe it’s important to remember how we arrived at our proficiency level. This is important because, in reality, we should never stop learning and progressing.

As a progressive guitarist, I enjoy those over-the-top solos that generally send chills up the spine of the listener. However, I also enjoy the hours of personal practice that allows me to execute those solos. Performance is one thing and skill development is another. It’s beneficial to enjoy both.

Imagine setting aside approximately eight straight hours of practice time and devoting a good share of that time to practicing one or two scales only. The thought of this routine might surprise some of the more experienced players. Once again, why practice scales when we can solo into infinity? The answer is forth coming.

I can almost guarantee that after a few hours of practicing a scale, the strict succession of the scale tones will disappear and will be replaced with new musical statements. Further, fresh new techniques will also emerge. For example, one might discover a new way to pick a string, cross a string, mute a string, embellish the scale tones, as well as many, many other discoveries. How’s that for progression?

A hardcore practice session can easily turn into a fantastic creative session. This is great news for the original guitarist and songwriter. Need a new guitar lick or song? Practice, practice, practice.

Everything discussed thus far, pertaining to guitar scales, also applies to practicing guitar chords. In music, time waits for no man. Chord construction and execution takes practice. Especially, when dealing with extended chords and altered chords (let’s not forget inversions). Not all of us will have the opportunity to encounter a major 11 Augmented 13th chord. However, what happens if we do? Answer; play it at the speed of right.

Whatever your level of musicianship, be sure to practice for the sake of practice. Great things will result from your hard work.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

The story for many professional guitarists is, most likely, very similar. We have a passion for the guitar, music, performance, and the show-time atmosphere. For many of us, practicing the guitar wasn’t a chore, it was a pleasure. For us, learning or composing songs, writing guitar solos, and developing arrangements wasn’t time lost, it was experience gained. For the most part, we make the difficult sound and look easy. This, in short, is our job and our passion.

Recently, one of my guitar students asked how the professionals practice the guitar (out of the mouths of babes). This is a great question. Think about this for a moment. If you’re a professional guitarist (ten, twenty, thirty, forty years of experience), how do you practice? What do you practice? When do you practice? How is your practice time different than a guitarist with two years of playing experience? For me, the answer to my inquisitive student’s question was quite simple. All inclusive was my answer.

Yes, I still practice guitar scales when time permits. Scale practice, for me, is concentrated and intense. Usually, I’ll practice scales for hours at a time, resisting the urge to fly into a creative solo session or songwriting session. I’m generally looking for several results when practicing guitar scales. For instance, I reinforce my finger, wrist, and hand strength. This leads to enhancing my endurance. Coordination comes into play. Picking technique, timing, etc., it’s all there. In fact, there’s so much there, it’s almost mind-boggling. Believe it or not, my student’s question reminded me that becoming one with the guitar is exactly the way that I practice the guitar. For me, this is the only way to cover all of the aspects of practicing the guitar and at the same time, bringing music to life. Let me explain.

For the most part, I gain more as a player when I’m working on arrangements (tracks), perfecting chord changes, solos, feeling the spirit of the song, and visualizing the stage performance. In addition, theory and application is flying through my head at the same time. In other words, ALL aspects occur for me at the same time. I practice the way I perform.

It’s really a wonderful feeling to be in-spirit when playing the guitar. How else could we execute so many things on the instrument without even thinking about them (chimes, chime-picking, sweeping, muting, tapping, finger picking, chord work, dynamics, and on and on)? I’m always amazed when I think of these things. The guitar, for me, has become second nature. It is an extension of me.

It’s one thing to play the guitar. It’s an entirely different thing to make the strings breathe and come to life. It’s difficult to explain to someone who hasn’t felt this amazing out-of-body experience. For those who have, no further explanation is needed. We know that our emotions are being communicated with every note that we play. We feel it, and so do our audiences.

A Velvet Touch can only come from strength. I remember having one of my students extend his arm to resemble the guitar fingerboard (He had been struggling with guitar scales and wondering how much strength was needed.). I grabbed his arm, like I was playing the guitar. At first, I exerted a lot of strength on his arm with both the thumb and my fingers. I played a mock guitar scale on his arm using excessive force (similar to what he was putting out in order to practice scales). Then, to his surprise, I lightened up (like a speed demon Butterfly). I ran an incredibly fast (we’re talking very fast folks; pure speed) mock guitar solo on his arm. He was amazed at the super light touch I utilized. I explained that strength must come before the Velvet Touch.

Many of you know exactly what I’m describing here. Hopefully, I’m just reinforcing what many of you (the professional guitarists) already know. In fact, I’d suggest that as professional guitarists, we all stopped practicing (so-to-speak) a long, long time ago and just started playing. What a concept.

Once again, my answer to the inquisitive student was that my practice is actually playing guitar as described in this article. In other words, practice at performance level. Play for impact and delivery. Bring it to life and make it breathe.

©2008 Michael E. Fletcher. All Rights Reserved Worldwide.

All of this, yet, something is missing. In fact, something has been missing for a long, long time. What could it be? You have a great car, home, and family. Everything seems to be working just fine, but something keeps haunting you. Nerve racking, isn’t it? I’ll bet you know exactly what it is my friend. You’ll never rest until you cross that final hurdle. It’s a right of passage that not many will ever experience. It’s a destination that, is at times, frightening to even think about. It’s your calling but, you won’t answer the call. Tick-tock, tick-tock. Time just keeps rolling on.

If this describes you, then this article should be of some benefit to you. Treat it as a simple guide to sorting out some very important issues relating to your future as a guitarist. An original guitarist, that is. Oh no! I had to go and spill the beans. You were just fine, doing what you were doing, and then I had to come along and remind you of what you’ve known all along. Your calling is far beyond the normal comfort zone.

Believe it or not, we just lost 98% of all the other guitarists who attempted to read this article. Why? Exactly my point. Not everyone can purchase a ticket to destination original. For some, the journey is just too much and too heavy to handle. Great news for those of us who would actually show up at the OK Corral. Think of it this way, if we just lost 98% of the other professional guitarists, that means the journey will be less crowded.

Still, at least 1% of the remaining readers will, most likely, be doubting themselves or yours truly. Their mental excuses will include arguments such as, mortgages, wives, children, day jobs, family, friends, pets, that teaching job at the local university, and on and on. Therefore, let’s just wipe out that other 1% just for fun. That leaves 1%. In other words, that leaves you, me, and the other brave souls who have taken the journey (or about to) and have succeeded beyond their wildest dreams. Refreshing, isn’t it?

What is it that Steve Howe, David Gilmore, Carlos Santana (and hundreds of other top-notch original guitarists), knew that others will never know? What drove them on to success? They could’ve stayed in their own local comfort zones. Why didn’t they? Did they all have a special chromosome? Perhaps, something science hasn’t discovered yet? Not likely. What they had was a calling, and they actually figured that out before it was too late.

Wait a minute! It’s beginning to seem and sound like the psychology of musical success is every bit as important as the ability to play the guitar. As they say, Bingo, we have a winner! It is. In fact, probably more important. Why do you think there are so many great guitar players in the world that will never get on that train? They simply can’t break through mentally! Therefore, they excuse the journey away. That 99%, most likely, live in fear of failure, fear of loss, fear of defeat, fear of loneliness, fear of rejection, and for some, the most horrible fear of all; the fear of success. Once again, this is great news for us. I know that this sounds a little cold but, we’re talking about a powerful calling and journey here. Take no prisoners.

Now that we’ve narrowed the field, let’s move on to some thoughts that might help to calm the wild, original beast that lingers within.

First, you’re not alone. Through faith and support of loved ones, the journey can be quite exciting. Don’t forget about your talent. Remember, it’s already presumed that you’re a fantastic guitar player and, hopefully, a songwriter. You’re already successful in your region.

Let me attempt to answer some questions that are probably spinning around in your mind. Does this mean that in order to follow the calling, you’ll need to pack up your entire life and family, then move to Hollywood, Memphis, or New York City (assuming you’re not there already)? Of course not. At least not yet (another story for another day). Wherever you’re based, I’ll bet you have access to professional recording studios, arrangers, and producers. Utilize them. Make sure that they are top notch. I’d much rather record in a studio that has worked with Fleetwood Mac than the studio who has recorded Billy Smith and The Blue Plate Special. Wouldn’t you? Remember, this is a run for the Roses. Do it right.

If you’re single, Hollywood, Memphis, or New York could be a welcome change in your life. One thing is for sure, you’ll be surrounded by those in the music business that can really help. This is not imperative, but it is helpful. Resources are important. Sometimes, it’s not what you know but, who you know. Hollywood is swarming with platinum artists and most are very friendly and helpful to those who are real.

Question: I’ve been married for eighteen years, just had our second child, love my wife and family, have a great job, and own a home. Is there a chance for me to have this type of success without losing everything? Of course, if you’re smart, know what you’re doing in composition, recording, marketing, distribution, and all of the other aspects of being an original artist.

Question: Will I have to tour? Eventually you will, but if you’ve done it right, your family will be right there with you. What a great experience. Fun, fun, fun.

Whatever category you’re in, there is hope for you as an original guitarist. However, you must take action. Once again, willingness without action is fantasy.

The original journey can be very rewarding, both financially and spiritually. However, as previously stated, not everyone is equipped mentally to board that train. Once you board, quitting is not an option. Don’t purchase the ticket unless you can handle the ride.

© 2008 Michael E. Fletcher. All Rights Reserved Worldwide.