Free-eBook Guitar

© 2018 Your Guitar Sage 1
WELCOME!
My friend, thank you so much for downloading my e-book and trusting me with your guitar
education. I promise to show you how to play guitar in a way that is exciting, fun and step-by-step.
If you follow my instructions, I promise you that you will realize the amazing, untapped potential
within you to play this instrument, IF YOU DON’T QUIT. And just so you know that you are in good
hands, I have been playing and teaching guitar for over 30 years. I have taught tens of thousands
of one-on-one lessons and have created thousands of videos with over 100 million views. However,
numbers are just numbers if there is not a great passion and desire to help others achieve their
greatest potential through unlocking the unlimited ability that you already have within you.
If I had not seen and experienced this unlocking/conversion myself from a young, want to be guitar
player into a professional guitar player and teacher living in Nashville Tennessee, I might not have
believed it either. And so, before we begin this journey together I want to set the stage for you
so that you have the strongest opportunity at becoming everything that you’ve ever desired, and
specifically as it applies to the guitar. I have to say that part because so many of the things that you
will be learning on guitar, you will be able to apply directly to your life in other ways and find much
success. However, I digress, I’m here to teach you how to play guitar.
If a child had any idea how many times he/she would fall down before they actually walked,
or how many times they would trip up trying to say a word before they could actually speak, or
how many times they might wet their pants before learning to go to the potty, they might feel quite
overwhelmed. With that being said, guitar is no different, in that everybody starts at the beginning.
No one starts with any special skills. Age does not matter. How fat or skinny you think your fingers
are does not matter. How big or small you think your hands are does not matter. Whether you were
born into a “musical” family or not does not matter. Whether you have arthritis and deformed hands
from dog bites like I do, or any other excuse that might cushion the pain of us not realizing our fullest
potential, it does not matter! In other words, if you want to play guitar, there is nothing stopping
you. Some things during this process you are just going to have to believe me until I can prove them
to you or better yet, you will end up proving them to yourself. The above concept is especially true.
We all start at step one. Anybody who skips any steps during this process did just that. They skipped
a step. One cannot skip a step and not skip a step at the same time. That is, in the beginning, guitar
is very much a step-by-step process much like learning math or any other skill that is acquired. If
seemingly natural skills like walking, talking and using the bathroom are indeed learned skills, what
would make one think that juggling, golf, accounting or yes, guitar playing is any different? With
the exception of possibly breathing, my friends, EVERYTHING is learned. That should be great news
for those who doubt themselves and think that they may not be cut out for guitar. I have heard many
stories of so-called music instructors telling students that they were not cut out for music. That only
tells me one thing, that that student had a lazy teacher who was incapable of teaching. I have never
met a student that I could not teach… If that student wanted to learn. That said, I have had students
who did not want to practice(learn) and so would not. I’ll say it again, if you desire to learn how to
play guitar, you will play guitar. You are in the right place my friend.

Do I sound like I may be a little passionate about the subject? That is because I most indeed am!
Since I was 14 years old, guitar has been my life. I too had to start at lesson one, except when I
was learning, I did not have a passionate, loving guitar instructor who actually cared whether I
succeeded or not. Neither did I have a step-by-step, fail proof method of learning how to play
guitar. Please understand that I am here for you! I really truly care that you understand that if you
desire to do so, you can do anything on the guitar that you desire through practice and time.
Since I have been teaching online since 2006, I have made thousands of amazing online friends.
In fact, things got so big that I unfortunately stopped being able to answer every single message
that came to me through the Internet. I literally get hundreds of questions and requests every day.
Because I have such a passion for helping others move forward in life, this became a problem.
That is why I created this free e-book, thousands of free videos on YouTube, my free top 30 lessons
course, and free weekly/monthly live Q&A broadcasts. I love helping others! So, even though my
time is limited for one-on-one instruction, I’ve created my books and courses in such a way that as
long as you don’t quit, you are going to continue moving forward. Also, it is truly my wish that you
understand that I really do care for your well-being and your progress. That said, thank you for
reading this and even though you may not believe me right now, please trust that I have seen this
process happen thousands of times with 100% success for those students who did want to learn. Try
to clear your mind of any myths, preconceived notions or judgments in regards to this journey and
allow me to walk you step-by-step through the process. This e-book carries a wealth of information,
much of which took me decades to embrace myself. That said, the 30 free lessons companion
course is even more powerful than this e-book alone and I implore you to take advantage of this
free gift that I’m giving you. I have already had over 100,000 people go through that free course,
some being veteran players, who have claimed that it has revolutionized the way that they view the
guitar and music.
One last thing before we go! If you are new to guitar there are a few things that you should be
aware of. The tips of your fingers will typically get a little bit sore before your passion to take a
break sets in. Also, just like someone who is going to the gym for the first time, you’re using your
hands, fingers and muscles in ways that you most likely have not done before. So you should expect
some slight muscle fatigue there as well. Please remember this relationship, whatever you put into
the guitar you will reap back. If you don’t practice, you will not have much to harvest. However, if
you practice often, you will have much to show for your newfound love. Also, remember that your
success has 100% to do with practice and nothing else. If you get frustrated, slow things down. I
have never seen someone who wanted to learn the guitar, not learn the guitar. And I’ve never seen
anyone who did not practice, get better. It’s literally that simple my friends.
Again thank you so much for taking the time to read this. I believe in you! I know that once you see
the unlimited potential unlocked within yourself, life will never be the same. And I’m grateful that you
have allowed me to show you that. Are you ready to dig in? LET’S DO THIS!

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TABLE OF CONTENTS
(TAP/CLICK LINKS BELOW TO VISIT TITLES)
WELCOME!
SPECIAL OFFERS EXCLUSIVE TO THIS EBOOK
30 FREE GUITAR LESSONS - VIDEO LINKS
HOW TO CHOOSE A GUITAR FOR PURCHASE
ANATOMY OF THE GUITAR
DEFINITIONS TO KNOW
POSTURE & HAND POSITIONING
NAMING THE NOTES ON THE FRETBOARD
HOW TO READ GUITAR TABLATURE
DEXTERITY
HOW TO READ CHORD STAMPS
BASIC CHORD TECHNIQUE
9 ESSENTIAL CHORDS
BASIC STRUM TECHNIQUE & EXERCISES
TALENT VS PRACTICE
LEARN & PRACTICE A SONG - STEP BY STEP
DEXTERITY EXERCISE 2 - NINJA FRETTING HAND SKILLS
UNSTOPPABLE GUITAR SYSTEM - PAID CONTENT
INTRODUCTION TO PLAYING BY EAR
FINGERPICKING EXERCISES - SONGS IN 4
SPRINGBOARDS
NASHVILLE NUMBER SYSTEM
INTRODUCTION TO THE CAGED SYSTEM
PRACTICING WITH THE CAGED SYSTEM
BAR CHORDS - UNDERSTANDING THE FORMS
6TH STRING ROOT BAR CHORD FORMS
FORM 1 MINOR PENTATONIC SCALE
INTRODUCTION TO THE BLUES SCALE
CONCLUSION
30 FREE GUITAR LESSONS - VIDEO LINKS
To take advantage of these free video lessons, it is very important for you
to sign up for the “30 Free” Series. To sign up, tap or click here!
30,000 Foot Overview of Guitar
Choosing an Acoustic Guitar
Choosing an Electric Guitar
Anatomy of the Acoustic Guitar
Anatomy of the Electric Guitar
Definitions That We Will Be Using
Proper Posture & How to Hold the Pick
Introduction to the Physics of Sound
Basic Picking Technique - Pick Rest
Basic Fretting Technique
Naming the Notes on the Fretboard
How to Read Tablature
Dexterity Exercise #1
Stacatto Vs Legato Technique
How to Read Chord Stamps
Tuning With a Tuner
Basic Chord Technique
9 Essential Chords

Curled Knuckle Technique - To Help With Chord Playing
Advice and Encouragement
Changing Chords - Transitions
Basic Rhythym Lesson
Basic Strum Technique and Exercises
Picks and How the Gauge Affects Your Playing
If You Are Still Having an Issue With Strumming - Try This!
Why Do You Want to Play Guitar
Practice Schedule - How to Practice
Guitar Care 101
Workout for Your Hand Without a Guitar
Talent vs Practice
Using the Thumb For Muting and Playing *Bonus Lesson #31*
How To Learn & Practice a Song Step-By-Step - Amazing Grace (Bonus #32)
“Perfect Practice” As Opposed to Just Practice -HOW To Practice (Bonus #33)
If you haven’t signed up for the “30 Free Lessons”, tap or click here!

HOW TO CHOOSE A GUITAR FOR PURCHASE
Choosing a guitar is an exciting but sometimes confusing undertaking because of all the variables
that you might feel are involved. What brand, what wood, electric or acoustic, what style, size,
string-type, color and then what about all the things you don’t know about guitars, right? Let’s
simplify the process a bit.
Firstly, you probably have an idea whether you want an electric or acoustic guitar. Acoustic
guitars are those guitars (typically with a sound hole) that are loud enough to be heard without
amplification. Sure you can hear an electric when not plugged in, but it sounds pretty wimpy
without an amp. To seemingly complicate the matter, we have acoustics that can be plugged in
for amplification, making them electric and there are semi-hollow electric guitars, making them
“acoustic” to a degree. The style of music and how you will be playing will often times be the
determining factor as to what type of guitar you will want to get. Usually the heavier the music, the
more an electric will suit you. There are not a lot of screamo bands playing acoustically these days
and not a ton of bluegrass players shredding a Les Paul through a Marshall half-stack. With that
being said, the rules have been broken so there is nothing holding you back from doing either of
those or anywhere in between. Let’s talk a bit about the differences between the two before going
any further.
Acoustic guitars don’t need an amp to hear them well, so they are nice and portable. The action
(distance from string to fretboard) tends to be a little higher than electrics and the strings are typically
thicker making bending and intricate licks/noodling more difficult. They sound great playing open
chords and fingerpicking. On the other hand, electrics usually have lower action making soloing
and subtle movements easier. I’m asked a lot about what beginners should start with. For different
reasons I would choose both, but most of the time, I would say an acoustic would be my choice.
There is less to be distracted by with an acoustic and you can play so many different styles easily on
the acoustic. When directing a student to a new guitar purchase, the main variables for me always
come down to: budget, feel and sound (in no particular order). Trying a bunch of guitars in your
price range will give you a great education on feel and sound. I KNOW you want the pretty red
guitar, but don’t pick the guitar because it’s red if it sounds or plays badly.
The prettiness will get old. Bad sound or feel does not go away.
If you have a $300 budget, there is no need in seriously looking at the $1000 guitars,

although knowing what they feel and sound like would be helpful to your education. I have some
expensive guitars and some cheapos. Sometimes more money gets you more guitar and sometimes
more money just makes you think you are getting a better guitar. I recently played two different
classical (nylon string) guitars. One was $5000 and the other was $100. Can you guess which one
sounded and played better? You would be surprised. For one, I was not in the mood to drop $5000
on a classical, so that price range was not a consideration. However, if I did not look at the prices
or brands, the $100 guitar played and sounded as good as the $5000 model. Now this does not
always happen, but it happens often. There are great cheap guitars and terrible expensive ones.
Higher prices usually equates to better woods, craftmanship etc., but manufacturers are getting
really good at producing good guitars at cheaper prices. DON’T let the price alone dictate a guitar
purchase. You will be sorry. So, figure out what your budget is and try to stick to it. You can get an
acceptable $150 acoustic or electric if you know what to look for. I have guitars priced from $100
to several thousand dollars, but none were purchased regarding price alone. Let me clarify; more
expensive guitars TYPICALLY equate to better guitars, but be careful in using that to determine a
guitars worth.
Watch this lesson:
Choosing an Acoustic Guitar

ANATOMY OF THE GUITAR
As with learning anything new, it’s very important to become familiar with nomenclature. I’ve
provided this graphic so you can learn and can get used to using the proper terms for the
components of your guitar. You’ll just sound smarter, too!
Watch this lesson:
Anatomy of the Acoustic Guitar

DEFINITIONS TO KNOW
Interval – The pitch distance between 2 notes.
Chords – 3 or more notes played together.
Arpeggio – “broken” chord, or notes from a chord played apart from each other.
Major Chord – 1st, 3rd and 5th scale steps (notes from the Major scale: 1, 3, 5.
Minor Chord – 1st, flat 3rd and 5th scale steps (notes) from the Major scale: 1, b3, 5.
Watch this lesson:
Definitions That We Will Be Using

POSTURE & HAND POSITIONING
Although this is a fairly simple subject, beginners often times overlook the importance of posture and
hand positioning. Incorrect posture or hand positioning can limit hand movement and cause back
and/or hand fatigue. So, let’s break it down into two subjects:
Posture- Whether you are in the sitting or standing position, posture is the foundation for accessing
the notes on your fret board correctly and limiting strain. When standing, make sure that your guitar
is high enough to allow your picking and fretting hands to access the entire guitar with ease. If you
are unable to do this, there’s a good chance that your guitar strap is set to low. Does it look cool
to wear your guitar way down low? Of course it does! Does it look goofy to wear it super high?
Yup! But there is a happy medium. Your goal should be to make good music and good posture is a
cornerstone.
When sitting, make sure that you are sitting up and not slouching back. You can do this later when
you learn proper technique but in the beginning it will seriously limit your hand movement. Classical
guitar players will typically prop their left foot up on a footstool, and place the guitar on their left leg
which allows the guitar to sit at about a 45° angle which feels very much like the same position that
your guitar would be in if you were standing and your guitar strap was at the proper length. Folk
and rock guitar players often times rest their guitar on their right leg. This puts the guitar at more of a
90° angle. This is the most common way to hold the guitar when sitting down and with a little time
can be mastered. The guitar is not as stable in this position as it is in the classical position, but is more
comfortable over longer periods of time. I use both positions but typically only use the classical
position when playing classical guitar. For me personally, I use the rock/folk position about 99% of
the time.
Hand positioning- This is also a cornerstone to playing. Improper technique for beginners can
limit and frustrate them. The fretting hand thumb should be placed on the back of the neck and not
hanging over the top of the neck. Later as your technique gets more refined you can “cheat” a bit
by hanging your thumb on the back of the neck, but trust me when I say, “don’t do it now.” There’s
a tendency to do this because the arm can get heavy just hanging it out there playing for longer
periods of time. Just be cool, don’t hang your thumb at first.
As far as the picking hand, if you are using a pick, place the pick between the thumb and first finger
with a relaxed feel. You will have more control over the pick and will limit hand fatigue. Unless

you are purposely playing up strums or up picks for a specific reason or song, work on picking
everything with down strokes. I see a lot of beginners picking up instead of picking down. This is a
weaker sound and a habit that you don’t want to get into.
Watch this lesson:
Proper Posture & How to Hold the Pick

NAMING THE NOTES ON THE FRETBOARD
• The musical alphabet goes from A to G (there is no “H, I, J”, etc.)
• A half-step is the distance between 1 fret and the next on a guitar
• A whole step is equal to 2 half-steps or 2 frets distance
• A sharp (#) is when we raise a pitch by a half-step
• A flat (b) is when we lower a pitch by a half-step
• Every note has a sharp, except for B and E
So, the musical alphabet reads like this A, A#, B, C, C#, D, D#, E, F, F#, G, G#...… and all the
notes on a 23 fret board look like this…
Scale steps: 1 2 3 4 5 6 7 8 (or 1)
Distance between notes: W W H W W W H
Have you ever heard the vocal exercise, “Do-Re-Mi-Fa-So-La-Ti-Do”? Those are the musical steps
for the major scale. Or the “Do Re Mi” song Julie Andrews sings in “The Sound of Music?” That song
is based on the steps of the major scale. It is VERY important to learn the major scale if you want a
good foundation for learning everything else on the guitar. It is the basis of music theory, the field of
study that deals with the mechanics of music and how music works.
Watch this lesson:
Naming the Notes on the Fretboard

HOW TO READ GUITAR TABLATURE
Guitar tablature is a system of notation that graphically represents music by showing you the
strings and frets that are to be played. It also can show some degree of “feel” or technique with
slides, hammer-ons, pull-offs, slurs, vibrato, etc.
Since tablature is somewhat of a shortcut system there are not a lot of official rules to this notation.
In fact, transcriptions vary from tab to tab as one transcriber may illustrate something differently than
another.
That being said, I’m going to try to be as thorough as possible regarding the subject so that you
have a good grasp of how to interpret it. A note is represented by placing a number (which
indicates the fret to play), on the appropriate string.
One thing that tablature does not illustrate is the duration of notes. It does not tell you how long a
note should be held out. Sometimes tab transcribers will specifically put longer spaces between
notes on the line to denote duration, but it’s not quantifiable; it is simply a basic idea.
That being said, most people don’t use tablature unless it’s a song that they already know and can
hum, so that part becomes less of an issue, except with more intricate parts.
Also, even though tablature has been around for centuries, some of the techniques used by rock/
pop guitar players are fairly new.
In tablature, each line represents a string on the guitar. The thickest string is the bottom line and the
thinnest string is the top line. So basically, it’s the opposite of the way that you think it might be. One
way to remember this is to think of the higher lines as the higher pitched strings and the
lower lines as the lower pitched strings.

The numbers placed on those lines represent the frets, NOT which finger is used.
Tablature does NOT tell you what fingers to use. That is where a good guitar
instructor or proper technique comes in handy!
When numbers are placed vertically like below, you will play them like a chord (all at
once), as in a strum.
Below is a G major chord. (By the way, tablature notation is typically plain black
and white - I’ve merely added the red to help you zero in on what I’m referring to)

Tablature Symbols
Remember how I said tablature provides a lot of detail? The following are tablature symbols that
represent various techniques. Since new techniques are being discovered all the time, this is not an
exhaustive list.
h-hammer-on t-tap
p-pull-off TP-tremelo picking
b-bend string PM-palm muting
/-slide-up v-vibrato
AH-artificial harmonic AT-tapped harmonic
Hammer On
A “hammer-on” is a technique performed by sharply bringing a fretting-hand finger down on the

fingerboard behind a fret causing a note to sound. For our example here, you would pick the fifth
fret and hammer the seventh or eighth fret as indicated. Hammer-ons might feel awkward at first, but
they are easily mastered with practice.
As the name indicates, hammer your finger in a quick snapping motion so that the string does
not have time to fade out. A snappy hammer-on will vibrate the string almost as much as a strong
picking.
By the way, this is the A minor pentatonic or C major pentatonic scale that you are about to play.

Pull-Off
A “pull-off” is the opposite of a hammer-on. A pull-off is a technique

performed by plucking a string by “pulling” the string off the
fingerboard with one of the fingers being used to fret the note. For our
example here, you would pick the seventh or eighth fret as indicated
and pull-off to the fifth fret. Pull-off s can also be a little awkward at first
but with practice can be mastered. As its name indicates, pulling your
finger off the fingerboard in a snapping motion causes the string to
vibrate as if picked.
Bend
A bend is represented by the symbol ‘b’ or an arrow bending up or

down. A bend occurs when the guitarist physically pushes the string
across the fret board causing a change in pitch. Since bends vary in
duration and style, often times each arrow is illustrated differently. Often
times, the word “full”, or “1/2” will be written along with this, indicating
that the note should be bent up either one whole-step or one half-step.
Bends of larger intervals can occur. Typically the actual pitch change
will be denoted.

Slide-Up/Slide-Down
A slide-down is represented by the symbol “/”. A slide-up occurs

when a note is picked and slid up to another note. The second note is
not picked, but instead is still vibrating from the previous pick and the
agitation of the string during the slide. Opposite of a slide-up, a slide-
down is represented by the symbol “\”. A slide- down occurs when a
note is picked and slid down to another note. Typically, mastering the
slide-down takes more time than mastering the slide-up.
Vibrato
Vibrato is a pulsating effect by bending the string in a rhythmic fashion.

This technique is created by bending the string up and down rhythmically
or shaking the string. This effect works best after a string is picked. A
vibrato is usually represented by ‘v’ or ‘~’.

Tapping
The tapping technique is similar to a hammer-on, except it is done

with the picking hand. It is almost always followed by a pull-off. The
technique is performed when the picking hand taps the string hard
enough to push the string against the fret creating a note to sound at
that specific fret.
Harmonic (Natural)
A harmonic is a “chimed” string. This technique is produced by plucking

the string while lightly touching the string over the indicated fret. The fret
is not actually played in the traditional sense. When done correctly, a
chime-like sound will be produced.
Harmonic (Artificial)
Artificial harmonics are also known as a pseudo-harmonics, pinch-

harmonics or “squealies.” This technique requires allowing the string to
lightly graze the side of your thumb after picking it. Don’t try to over-
think the process. When you pick a note, allow your thumb to keep
traveling towards the string until it mutes it.
Once you get the hang of that, try letting the thumb just barely touch the
string. If done properly, you will hear a slight chime. Pseudo-harmonics
are typically easier to produce on lower pitched strings and lower
fretted notes; however, if the proper technique is used, an artificial
harmonic can be produced on any picked note.

Trill
The term “trill” is typically used when referring to a continuous back-and-forth, hammer-on and pull-
off of two notes. Mastering the hammer-on and pull-off techniques will allow for quick and precise
trills.
Tremolo Picking
Tremolo picking refers to fast, repetitive picking on one note. This technique is achieved by quickly
picking a note up and down. Typically tremolo picking refers to single notes (not chords).
Palm Muting
Palm muting refers to the muting of strings with the picking hand in order to create a percussive or
staccato (sharp attack) effect on notes or chords. This technique is achieved by placing the picking
hand palm on the bridge of the guitar just where the strings meet the bridge. Backing the hand
further towards the bridge creates a more standard, open sound. Moving the hand slightly closer to
the strings will create a tighter, more closed-type sound. This technique can be used for all genres of
music but is most prevalent in rock and heavy-metal rhythm guitar parts.
Tremolo Tricks
There could be a whole book written on this subject, but since most intricate tremolo work is done
in hard rock/heavy metal music we won’t be delving into the matter fully. Slash marks used for this
notation direct the player to move the note down or up, or both in some fashion. Often times the
targeted note will be denoted by the fret number, meaning that the designated fret number should
be the desired pitch.
Volume Swell
This notation is used in tablature, musical notation and charts. An increase in volume is denoted by a
“V” on its side like “<”. A decrease in volume looks like the opposite “>”. Changing the volume can
obviously be done in numerous ways.
Watch this lesson:
How to Read Tablature

DEXTERITY
“Getting your fingers to do what you want them to do...”
According to Webster’s dictionary, dexterity is, “the readiness and grace in physical activity;
especially the skill and ease in using the hands”. Well that obviously applies to us guitar players; the
more you do a particular exercise or movement, the better you become.
In fact, our brains are designed in such a way that it’s impossible for you to not get better when you
practice. That means that any amount of playing on the guitar whatsoever is beneficial. Now when
we practice specifically, deliberately and with repetition, we end up gaining a lot of control over our
fingers - or anything else that we set our mind to, for that matter.
Since our thumb is located so closely to our first and second fingers, our third and fourth fingers
don’t get called on for the same amount of tasks throughout the day.
For this reason, EVERYONE’S third and fourth fingers tend to be lazy when playing guitar. You
thought it was just you? Nope! Hendrix, Van Halen, Vai and any other player that you can think of,
had to develop their third and fourth fingers with exercises, many times, these exact same exercises.
The only guitar players that don’t have this issue are those that are born with a thumb that grows
straight from the middle of their hand. :)
Yes, I’m toying with you!! Everyone has this issue, so let’s find out how to undo it!
The following three exercises were specifically designed to strengthen your fingers and hands,
increase your speed and sharpen your technique. I have used these exercises for years and have
found them to be extremely beneficial.
Exercise one is a warm-up just to get your fingers moving.
Exercise two is an intense workout that develops both left and right hands. You will especially feel
the third and fourth finger of your fretting hand being worked out through this one. Make sure that
you’re using the appropriate finger on the appropriate fret throughout the exercise. For instance,
when you start playing frets

two and three, make sure you are using fingers two and three. When you’re playing frets three and
four, make sure you are playing with fingers three and four.
Exercise three is a unique exercise that will seriously challenge you and require you to play on your
fingertips. Don’t be concerned if you can’t do this exercise right away. It’s definitely one you want to
work up to doing. This third exercise can be fingerpicked or sweep picked. If you are going to use a
guitar pick to do the sweep pick, pick the first three notes down and the second three notes up. Also
make sure that when you do pick each string, it’s done in a sweeping motion - NOT picking each
note individually. It should be a smooth motion, allowing the pick to do the work. If you still have
questions after reading this, please see the associated videos.
At the bottom of these dexterity exercises, you will see I also cover four things that you always want
to remember when playing these exercises. Let me give you a little bit of theory as to why we are
doing each of these things.
1. Playing on your fingertips makes a guitar player faster and more efficient. The
more you play on your fingertips the lighter your touch will be and the less hand fatigue you will
experience. It’s very important to also have control over what part of the finger you use. Since the
fingertips seemed to be the hardest part to master, learning this first will make everything else seem
easier. Guitar players that play on their fingertips tend to play chords cleanly. Guitar players that
play on the pads of their fingers tend to play chords sloppily.
2. Playing right behind the fret requires much less pressure than playing further back.
Think about the leverage of a seesaw. The position of the fulcrum - that part under the center of the
seesaw that balances it – determines how much leverage you have. On a see-saw, if the fulcrum
is in the correct place, a small child can easily lift a large man off the ground. Similarly, leveraging
your finger closer to the fret will allow you to play more quickly and efficiently.
3. Playing with all your fingers is very important because, as you become a more
accomplished guitar player, you will most likely be playing faster and/or more
complex arrangements. Running out of fingers is no fun! So be proactive and use that third and
fourth finger. I have had many students over the years thank me for insisting that they use their third
and fourth fingers.

4. Lastly, it’s helpful to leave some space between the palm of your fretting hand
and the guitar neck because it allows you to more easily play on your fingertips
and ultimately have more control of your hand. At first, this can be a little awkward. Most
beginners grab the guitar neck like a shovel and their thumb comes right over the neck. And that’s
perfect… if you are digging a hole with your guitar! But you’re not...so don’t!
What we do on the guitar requires a lot more finesse and a much different approach than digging
a hole. If we have a guitar strap holding up our guitar or if our guitar is being cradled by our legs
and/or arms, then the guitar is not going anywhere. Once you are truly aware of this, it will liberate
your hand from grappling the neck.
For new guitar players, grappling the neck can really limit your playing. Later on in your playing you
may be able to be more carefree, but for now try to stick to good technique.
I am often times asked, “How long should I practice this exercise?” To which, I pose this question,
“how good do you want to get?” Obviously, the more you practice these exercises, the better
you’ll become. If you want to become fast, you should practice it a lot. If you are perfectly fine with
mediocrity, then you don’t have to play as much. Alright, enough talk! Off you go!!!
• Play directly on your fingertips - make sure nails on “fret” hand are always trimmed.
• Play right behind the fret (this is for leverage). Remember the see-saw example.
• Play with ALL your fingers (each finger plays a specific fret)
• It is best to leave some space between the palm of your hand and the guitar neck. This will give
you much needed leverage to play on your fingertips. Curling the last knuckle on your fingers is
also helpful.
Dexterity exercise #1 is a GREAT exercise for beginners to advanced players. You can practice
it for long periods of time and is great for general agility and strength.
Watch this lesson:
Dexterity Exercise #1
HOW TO READ CHORD STAMPS
The above diagram is called a Chord Stamp. It allows us to easily read chord shapes. Many chord
stamp illustrations vary, but for our example, let’s go over the following:
The red/black dot represents the root of the chord; the note that we build the chord upon.
Essentially, it’s the note that the rest of the chord is based on (i.e. “D”, “D-“, “D7” chords would all
have different “fingerings”, but would all have the same root, D). Often times, the root is the lowest
sounding note in the chord.
The number within the black circle represents the fretting hand finger that should be pressed down
on that particular place on the neck. “O” means open, or play that string without a finger on it.
Sometimes I will put a “T” if I want to bring your thumb up and over the back of the neck to play
certain notes. However, you should not attempt that technique for quite some time as you will need
to understand the “proper” way of playing chords before you try this “rogue” method.

Your fingers are notated:
Index=1, Middle=2, Ring=3, Pinky=4. The semi-circle/arc located above the three 1’s on the chord
represents a bar. A bar is when you lay your finger across several strings – like a bar. This can be
tricky in the beginning, but don’t over-think the process! Typically, a new player will only be able
to bar 2 or 3 notes at a time. As your hand gets stronger and your technique increases, you will be
able to bar all 6 strings when necessary!
The “X” means “don’t play that string”, or “mute that string”. It should not vibrate or make any sound
when you play the chord. The “(X)” means that you can play the note, but for practical purposes,
you usually would not. Technically, this particular note could be played in the chord without any
“dissonance” (disagreeable notes/sound). If you do choose to play it, the chord will still sound
“harmonic” (agreeable notes/sound).
Watch this lesson:
How to Read Chord Stamps

BASIC CHORD TECHNIQUE
Playing open chords can seem like a daunting task for new players, but remember EVERY player
goes through this. SO HANG ON!
First of all, remember the importance of playing on your fingertips. If you play on the pads of your
fingers, you will NOT be able to play chords well! Observe your hand when you are playing. If
something does not sound right, it’s PROBABLY NOT! Play with the specified fingers to start off.
If you want to change fingerings after you have mastered these chords, then great! But for now, stick
to the specified fingering and you will quickly see your discipline pay off. Arpeggiate (pick slowly)
through the chord so that you can hear each note as it is being played. You will only cheat yourself
by being sloppy, so pay close attention to your fingerings and technique.
When transitioning from one chord to the next, be aware of your fingers; which ones need to move
where and what fingers stay in place, (i.e. the 3rd finger never moves when going from a D to a G
chord, or from a G to a D. For E to A-, all the fingers move together.)
Watch this lesson:
Basic Chord Technique

9 ESSENTIAL CHORDS
Watch this lesson:
9 Essential Chords
BASIC STRUM TECHNIQUE & EXERCISES
Strumming the guitar can be frustrating if you are not shown the proper way to think and if you don’t
allow yourself some time to master some basic guitar rhythm skills. Here are some fundamental
concepts that I want you to think about when practicing strumming.
1. Mute the guitar strings with your fretting hand (if you are a “righty,” this would be your left
hand). This will allow you to focus all of your attention on your strum.
2. For the following exercises, the numbers will ALWAYS be “down strums” (strumming towards
the floor), while the “+” symbol (also known as the “and” of the beat) will ALWAYS be an “up
strum.” This is the KEY to good strumming. Be diligent with this basic principle.
3. Each strum should be equal distance from the last. If you are counting 1 + 2 + 3 + 4 +, the count
should be smooth and even like a watch or clock ticking (unless you are “swinging the beat,”
which is not recommended before learning a basic straight strum).
4. Say the rhythm out loud, slowly. Once you get the idea, try to say that same rhythm in a seam
less “loop”(meaning, don’t stop at the end of the 4+). Once you get the hang of this, it should
stream together like 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 + 1 + 2 + 3 + 4 +
5. Once you can count it smoothly like this, strum it slowly and steadily. If you are new to
strumming, try the very first strum, which is 4 down strums on the down beats.
6. When the strum calls for a space or void like 1 + 2 + 3 + 4 or 1 + 2 + 3 4+, your hand should
STILL move as if it were going to hit the strings. This way your down strums will always be where
your down beats are and your up strums will be where your up beats are. Get it?
Exercises on next 2 pages...

NOW for the exercises! For this study, take it slow and go through ALL levels in order.

Remember to TAKE IT SLOW and don’t get the fretting hand involved until you feel consistent about
the strumming hand. With diligent time and practice you will get REALLY good at this.
Watch this lesson:
Basic Strum Technique & Exercises

TALENT VS PRACTICE
Have you ever seen your favorite guitarists tear up a fret board without even seemingly trying?
Do you think they got that way because they were lucky, or because they were born into it?
Let me both disappoint and liberate you at the same time with the answer. One guitar player isn’t
any luckier than another or born into playing licks easier than another. If you were to take the
top guitar players of each genre and find out how much they have practiced and how much they
continually practice, it would be quite mind boggling. Is it a coincidence that only the great players
are the ones that practice so much?
Obviously, you can see where I’m headed with this. Guitar players who have been playing for a
long time and still have not progressed past a certain point, have not done so because of lack of
talent; they’ve not done so because of their lack of practice!
If it makes you feel better to believe that Eddie Van Halen or any of the other great guitar players
were born with a gift that you were not born with, then believe away only to the detriment of your
own playing.
However, it’s NOT the truth and that type of small thinking will hinder your playing exponentially.
Don’t believe the lie!
This is a subject that is rarely addressed or, often times, misunderstood completely. The definition of
“talent” is a natural aptitude or skill. As far as practice goes, we all know what practice is and that
doing more of it makes us better at whatever skill we are trying to improve. I know I’m going to step
on some toes with this portion of the book, but bear with me because I promise you that what I am
going to share with you in this section will only empower you to become the best player that you
allow yourself to be.
Simply put, the point of this section is that the belief that you must be born talented or have some
natural inclination to excel above the herd is not only completely false, but also extremely limiting to
your playing… and your life!
Many people believe so fervently in this idea of an innate need for talent – as opposed to sheer
practice – that they talk themselves right out of excellence! Defenders of the talent theory like to use

examples of great icons that excel in a particular field or genre and say “there, you can’t tell me
that they are not talented!” They assume that the person was simply born with the ability they are
displaying in their excellent performance.
This assumption, however, is very insulting and negates the thousands – or even tens of thousands of
hours – that a person has spent “perfecting” their craft.
What do Jimi Hendrix, Amadeus Mozart, Michael Jordan and Thomas Edison all have in common?
Well, depending on who you ask, some might say they were gifted or talented. Others who have
taken the time to step back, will realize that their gains are because of dedication, innovation,
organization and perseverance. They understand that the more one practices, the better one gets.
Now I know that concept sounds logical, but see if you can step outside yourself for a moment and
watch yourself slip into the “talent camp” when something appears to be out of your reach.
What I’m saying is, and I know this from personal experience because I used to do it often, it’s easy
to look at someone who has “mastered his craft” and say that they have some leg up on you. I’ve
done it so many countless times throughout my life. I used to do it most often with musicians, but my
love of illusions (magic), martial arts, etc., have also made me assume that somebody had a hidden
key that I was not able to find.
I have played guitar for several decades now, have learned thousands of songs and have
attempted to imitate hundreds of guitar players. I have seen success in all of these areas. I’ve had
many people comment on how “talented” I am. The funny thing is, when I started playing guitar, I
was TERRIBLE! Why is that?
It is that way because everybody is terrible when they just pick up the guitar! It’s just that some folks
forgot the process and how long it actually took them. Jimi Hendrix was terrible when he first picked
up the guitar! Eric Clapton was terrible when he first picked up the guitar! Yngwie Malmsteen was
terrible when he first picked up the guitar!
Are you getting the picture?
We would be much better off to replace the word talent with perseverance. Now that is a pill I can
swallow! If someone said to me “the reason that a particular player does not play as well as Jimi
Hendrix is because he doesn’t have the talent,” I would never concur. If someone said to me, “the
reason that someone does not play as well as Jimi Hendrix is because they don’t have the same

perseverance that he had,” I would wholeheartedly agree!
Perhaps to define it better, instead of the word perseverance we could even replace it with “efficient
practice time.” Now how unromantic is that? I know, it kind of makes you want to call it “talent”
again right? How much cooler to think that we would not have to work and that we could just be
born into such a thing. Let’s not fall into the trap. It’s lame and it’s lazy and it’s NOT the truth.
Jimi Hendrix started playing guitar somewhere around 10 years old. If he were so “talented”, he
would not have had to practice so much? Why didn’t we hear of him breaking into the music scene
at 10 or 11? What about Amadeus Mozart, Michael Jordan and Thomas Edison? Mozart was
known to utterly surround himself with music. He was constantly immersed in it from a very young
age. It’s true that some people catch “the music bug” earlier than others, giving them several years
more practice than others. That is a truism that you cant escape.
If someone starts playing guitar at age 4 as opposed to age 14, when both reach the age of 15
the one guitarist will have been practicing for 11 years while the other will have been practicing for
one year. It’s simple math. Can you see which player might sound better? Is this what we’re calling
talented? I heard a story about Michael Jordan where he did not make the high school basketball
team because he SUCKED! YES, that Michael Jordan!
However he was determined to play basketball. So he got that basketball out and started shooting
hoops and still sucked for a bit, until continuous suckyness turned into kind of sucking, which turned
into not so sucky, which turned into kind of good which turned into pretty good which turned into the
best NBA basketball player to ever grace the courts!
Have you got it yet? It DOES NOT happen overnight! He made his own destiny by being
determined and practicing. In essence he became talented.
What about Thomas Edison? Who the heck is that you ask? He’s the guy that invented the light bulb.
Yep, pretty important huh? He also invented hundreds of other things that we use today. Look him up
on Google if you want to see a man who has changed the lives of billions of people.
When Thomas Edison was creating the light bulb he used hundreds of different filaments before
finding the right one. The filament of the light bulb is that little thing in the middle that glows. He
used everything under the sun including horsehair but to no avail. Finally he got it right. Enter
sarcastic Sage voice, “Boy, that talented Thomas Edison. He is just so lucky. Stuff just comes to him
SOOO easily.” Can you see how insulting that is when he worked his hind end off to create such a

technology?
In fact, it was Thomas Edison who said, “genius is 1% inspiration and 99% perspiration” or in my
words 1% talent and 99% practice. So that little 1% seed that was dropped into Jimi Hendrix,
Amadeus Mozart, Michael Jordan, Thomas Edison and YOU, must be watered and fed and given
all the conditions to make that seed grow into fruition. That’s the harder part. Seeds like that are
dropped all day long but rarely do they find fertile ground. If you’ve gotten this far in my diatribe, I
would guess YOU are fertile ground and are going to run with this information.
There is NO-thing stopping YOU from becoming the next Jimi Hendrix or Eddie Van Halen IF you
practice like they did. THAT’S the tricky part. You were already born into this world with the ability!
Now that you know this, I want you to be aware of how you view great accomplishments. It does
take a little bit of the wonderment away, but empowers you to create that wonderment for yourself.
There is no task too great, or goal too lofty that you cannot attain if properly mapped out and
walked through step-by-step.
This is not a pep talk, as I rarely have time for pep talks. This is a truism and is good news for those
of us that are willing to work hard and smart. It’s bad news for those that are waiting for talent or
the Publisher’s Clearinghouse sweepstakes guy with a big check to knock on their front door. Now,
DON’T go easy on yourself. Go practice as if you are the next Jimi Hendrix, because you ARE!
Watch this lesson:
Talent vs Practice

LEARN & PRACTICE A SONG - STEP BY STEP
Amazing Grace
In 3
G G C G
E- C D D
G G C G
E- D G G
Watch this lesson:
How to Learn and Practice a Song Step by Step
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DEXTERITY EXERCISE 2 - NINJA FRETTING HAND

SKILLS
Watch this lesson:
DEXTERITY EXERCISE 2

Before we start learning how to play a song by ear, there are some things we need to define and
explain:
• Key: the tonality of a composition (song)
• Chord: a simultaneous (at the same time) combination of at least three different pitches
• Melody: a succession (series) of musical tones
• Diatonic: the tones of a major or minor scale
• Major Scale: scale built from 2 whole steps, half step, 3 whole steps, half step
(or W W H W W W H)
99.9% of the time, the melody, chords, bass-lines, accompaniment, etc. will all typically be
centered around one particular note or tonic. Some music is more tonal than others. Pop, blues,
rock and country tend to be very stable in this regard. “Atonal” or “12 tone” music is on the extreme
opposite end of this spectrum and we won’t be studying it here. In my opinion, it’s not very pleasant
to listen to. Think of the key as one particular note that all the other notes and chords dance around.
Every melody, bass line or chord progression that is played points to a particular key. The key is like
the title or idea of a song. If the title was, “Love Gone Wrong”, your lyrics would probably be about
a love that isn’t going so hot. The lyrics would support the title. I know that sounds really elementary,
but if you fully understand this concept it will help you TREMENDOUSLY. Another example is if you
had a report due, you would start with a thesis and all the other words, paragraphs and thoughts
SHOULD support the thesis. If not, you would be considered to be “off the subject”; in musical terms
you are falling out of the key. So humor me for one last example…if your friends are sitting at a table
talking about guitar and you pull up chair and start talking about drums, things are going to get a
little socially awkward. It’s not to say that you could not reference drums as to how it might compare
to guitars, but anything more than that and you are changing the subject. If your friends (the rest of
the band or ensemble that you are playing with) decide not to change subjects (keys) with you, then
you are going to be the odd man out, and YOU will be playing out of key. If you manage to get all
those guitarists to start talking about drums, then you have managed to change the subject (key) for
all your friends (band). Get it?
If you do reference drums and it pertains to the conversation regarding guitars, without intent of
changing the subject, then musically we can do the same by suggesting another key temporarily
without totally committing to that new key.
Often times a song will begin or end (or both) on the tonic, or “1” of the scale. This can be the 1
chord, or 1 scale note. *Check out ebook 1 for an explanation of diatonic chords and the Nashville
number system.

Here is the method that I use when creating charts, melody lines, bass lines, or deciphering music
from ear in any capacity:
1. Listen intently to a small part of the song you are trying to decipher.
Determining what melody or chords are being played will help you find what key the song is in.
Finding out the key a song is in will make unlocking the rest of the song a breeze compared to NOT
determining the key. It’s the first thing that I always attempt to do when transcribing. You MUST be
able to “hear” the note before trying to play it on your instrument. If I murmur something under my
breath (that you can’t accurately makeout) and I ask you to repeat it, it would be a waste of time
for you to guess at the infinite possibilities of what I COULD have said. So, normally you would ask
me to repeat it, right? So when you are listening to a passage of music, you might need to listen to it
over and over again until you can actually hear it accurately. Not being distracted by other noises
(a friend trying to hum the melody for you, t.v. on in the background, etc.) is also very important.
I will even close my eyes so as to heighten my concentration on my sense of aural (hearing)
awareness. Hearing it right and playing it right are two TOTALLY different things so let’s not rush this
process.
2. Hum the vocal melody-line, bass-line (or some other part of the song you are
trying to decipher).
Once I feel I can “hear” the music selection, I attempt to hum it. This is a learning process. I say this
because some say that it is a gift. However, you will find that the more you practice it, the better
you get. Coincidence? Now the fun part! This can be a bit tricky if you are not used to humming or
singing. The trick is to commit to the note that you are humming until you can successfully find it on
your guitar. Take the first note of the series of notes and hum it - LOUD AND PROUD! That first note
is crucial. If you are not convinced that you have the note, slide (sing) it up and down in pitch until
you get it. Be aware and limit distractions, especially other noises. NOW that you have hummed the
note correctly…
3. Find the note on the fret board.
How? Go fish! Yup, just play a note on the fret board. Preferably in a place on the neck you think is
logical. You probably won’t be WAY up on the neck unless it’s a high melody. If you don’t luck out
and get the note right off the bat, determine if the note that you are humming is higher or lower than
the note being played. ATTENTION: This is the most important part of the puzzle with the exception
of hearing the note correctly in step 1. You MUST determine the highness or lowness of the two
pitches. This is where most people bail out, and try going back a step or going forward a step.
Don’t do it! It will only slow you down. This is the normal process for everyone in some capacity or
another. Once you have determined that the played note is higher or lower than the hummed note,
move your played note in the direction of your hummed note BY HALF STEPS (1 fret at a time). For
example, if your hummed note is higher than your played note on the guitar, then you would move
your played note UP by half steps slowly until the note is in unison (the same). For beginners, try

moving up in half steps on ONE string. If you are not trained, changing strings will only confuse you.
If you don’t find that first benchmark note, the other notes will be much harder to find, so don’t
skip any steps Here is the method that I use when creating charts, melody lines, bass lines, or
deciphering music from ear in any capacity: in this process. It seems tedious, but the more you do
this the quicker you’ll get. Whether you are really slow at this in the beginning or get REALLY quick
over time, the process is the same. Like a speed-typist, the speed comes from methodically doing the
correct steps EVERY time, not randomly doing some steps and hoping for a good outcome. That’s
called “dum” and that’s not you. Yeah, I know I spelled it without the “b”. Just making sure you are
paying attention!
4. Find more notes on the fret board.
So once you get that first note, half the battle is done. Use the same method above to find the other
notes. Another great practice is to take “chunks” of music at a time. Like eating a meal, you don’t
take more than you can chew or swallow, so don’t do that with the musical passages, eh?
5. Determine the key.
The combination of whole steps and half steps will determine where your tonic or “1” is. Now,
assuming you have a few notes that you have successfully “found” on the fret board due to your
stellar humming skills… What do you do with them? Well, we are looking for a pattern, specifically
the major scale. If you remember from ebook 1, the major scale pattern is WWHWWWH (whole
step, whole-step, half-step, whole step, wholestep, whole-step, half-step) or (1 W 2 W 3 H 4 W
5 W 6 W 7 H 1) - where the numbers are the scale steps. A half-step remember, is the distance
between one fret and the next. A whole-step is two half-steps.
SO, let’s say the 3 notes that you have found show a pattern of WWH. DEAR WATSON, a clue…
or three to be exact!! Here is where that WWH falls into our little major scale pattern from above:
1 W 2 W 3 H 4 W 5 W 6 W 7 H Get it? So, in our example, there are two places that that pattern
falls, so we are closer, but no cigar just yet. You are the detective and are looking for clues as to
what key we are in. The song has the “fingerprints and DNA” of the key we are looking for all over
it, but we have to look carefully, and jumping to conclusions could give us wrong answers. We need
to get more notes from the song to determine where the “1” from the scale is
Let’s say after further listening, humming and translating our hummed notes to the guitar, we find that
the pattern now has a W before the initial WWH to create WWWH. Voila!! NOW, we are getting
somewhere! Now we have WWWH and notice how there is only one of those in the following
pattern: 1 W 2 W 3 H 4 W 5 W 6 W 7 H 1. That means that the note at the end of the WWWH
would be the 1, tonic or key of the song. That is HUGE to know and I will show you why.
Once we have determined the key, we have a matrix of very possible chords and notes that will
coincide with that particular key (if you have ebook 1 the Nashville Number System chord matrix
and major scale are examples of this). So for example, let’s say after using the above method and

determining that our song is in the key of C. Our chord “subset” or family of chords would MOST
LIKELY be: C, D-, E-, F, G, A- and B dim (diminished). I say most likely, because it’s not always the
case, BUT it’s a great place to start. Your ear will most likely tell you if a chord is different from that
“rule of thumb” set of chords. So now that we know that these are the most probable chords that we
should expect to see in our example song, we are not just grabbing chords randomly. Often times,
that 7 chord WON’T be diminished, but will be a “flat 7” chord. So in the key of C, the B diminished
would be a Bb Major. See what we did there? We flattened the B by one half-step, making it a Bb.
Then we built a major chord off that Bb. Remember the “flat 7” chord. You will see it A LOT in pop,
rock and country music.
As a side thought, when I am teaching my one-on-one students a song, I almost always pull up the
video online. Often times videos will show the artist as they are playing their guitars. Since the guitar
is so versatile, the same melody or chord progression might have three or four possible solutions
(ways to play it) on the neck. So it’s helpful to notice where or if a capo is used, or where on the
neck the guitarist is playing. This will all make more sense to you as you gradually learn this process.
6. Hum the bass notes to find your chord progression.
Using the above methods, once I have determined the key and have the subset of probable chords
and notes, I listen to the bass notes. When I refer to the bass notes, I mean those notes that are
played by the bass player or are in the lowest register of the composition. Basically, I am listening to
the lowest notes (in pitch). 9 times out of 10, the bass notes will tell you what the letter name of the
chord is. Now mind you, there are many different methods people use to transcribe music by ear.
The way that I’m showing you is one way, and for me is the easiest and most logical way. As you
sharpen your own aural-awareness, you will most likely develop your own techniques and habits
that are unique to you. Let’s say for our example, that we hear the bass line play a C for four beats,
a G for four beats, an A for four beats and an F for four beats. Remember our melody determined
that we were in the key of C and that the associated chords for that key are C, D-, E-, F, G, A- and B
dim (diminished). Remember that the bass note is only one note of the chord and does not determine
the flavor of the chord like major, minor, diminished, 7th etc. So the four bass notes that we found,
C, G, A and F would most likely represent chords C major, G major, A minor and F major. Could it
be that the chords that are actually played in the song are different than that? Sure, but most likely
not. They usually fit the matrix of the key that we are in.
The method that I just showed you was how I taught myself to transcribe songs. For those of you just
starting out, I would suggest going through each step. If you are finding success skipping some of
these steps, then more power to you! All my students are different. Each comes with a unique skill set
and way of learning. You will be the same. Now, when I sit down to transcribe a song for a student
I will usually jump straight to step six where I am humming the bass notes. From doing this process so
much I can usually determine what the tonic of the song is right away. Finding my bass notes tells me
my chord progression and also tells me where I might put my capo to simplify the song.
Again, let me remind you that this is a learned skill. I hate even saying that one person might be

naturally better at this than another because I don’t want to give you an excuse to not learn this skill.
It can be frustrating at first but if you keep on being persistent, the rewards are great and every time
you find a new note and new chord it’s like finding a piece of gold. It’s always helpful to start with
the song that you are very familiar with and that you love. It will make this whole process a lot easier
and more enjoyable. Also, remember, regarding guitar and anything associated with art in general,
there is no perfect way. It’s all subjective and open to interpretation. I’m not saying that there are
not definite notes or chords represented in the song, but that your method for determining those
may be different than someone else’s. Always be open to learning. In this way, you will always be
increasing in skill and not grow stagnant.
Watch this lesson:

INTRODUCTION TO FINGERPICKING
Fingerpicking is the use of one’s fingers to strike or pluck the strings instead of using a pick
(plectrum). This technique is widely used in classical, flamenco, Spanish and folk music; however it
has also been used in nearly every genre of music - including pop and rock. Fingerpicking allows
the player to be more selective regarding what strings should sound when playing the guitar
polyphonically (multiple simultaneous notes). For example, if I want to play an E minor chord, but
don’t want the fourth and fifth strings to sound, I would either need to mute them or just not play
them at all. If I were strumming the guitar you can see how playing the same chord without the fourth
and fifth strings might be awkward. However, with the use of fingerpicking I can pick strings one,
two, three and six easily. That’s a very simple explanation of the myriad of possibilities that only
fingerpicking will allow. Fingerpicking also has its own distinctive sound.
When reading music that uses fingerpicking, you may see the term “PIMA” or the initials P, I, M or
A used. PIMA is an acrostic for the thumb and the first three fingers of the right hand. Because of
its length, the pinky is often times not used. PIMA is often used to indicate which fingers to use in
picking. The traditional Spanish words that we derive those letters from are:
Pulgar = Thumb
Indice = Fore Finger
Medio = Middle Finger
Anular = Ring Finger
I know! I don’t speak Spanish either. It’s certainly a lovely language, but we need something else to
help us remember the fingers. Here’s how to think about them.
For P, think of the guitar pick - or if you’re in the UK, they call it a plectrum. A lot of beginning guitar
players will use their thumb instead of a pick. Get it?
For I, think of the index finger
For M, think of the middle finger
For A, think of the anniversary (ring) finger
Fingerpicking, like any other technique that we are going to study, requires practice, attention and
a lot of patience. This is a technique that feels awkward at first and too, with time and discipline,
miraculously gets easier. If the definition of an arpeggio is a broken chord or a chord where the
notes are played independently of each other, then you are about to play a lot of arpeggios. Until
you get more comfortable with the fingerpicking hand playing the prescribed patterns, it’s extremely
important that you focus all of your attention on the fingerpicking and not the fretting. For this exact
reason, I want you to start this process by playing an open E minor chord, on strings one, two, three
and six only. We won’t be playing strings four and five, which are the only strings that you would be
fretting for our traditional E minor chord. So, let your fretting hand relax. You won’t be using it to start
off here. Now with your fingerpicking hand, place your thumb (P) on the sixth string, your ring

finger (A) on the first string, your middle finger (M) on the second string and your first finger (I) on
the third string. Now, just rest your fingers there for a moment. I want you to indelibly (forever etched
in your mind) picture how your fingers are sitting on the strings. Remember this one concept and
fingerpicking will almost never be an issue for you. How your fingers are sitting on the strings is the
basis of 99% of the fingerpicking that you will encounter. Don’t take your fingers off the strings just
yet!!!!
Now, notice the two headings on the fingerpicking exercise page follow this description: “Songs in
4” and “Songs in 6”. The first example under “Songs in 4” says PIMA. That means if the song count
is one, two, three, four, you would pick P, I, M, A, or thumb, index, middle, ring. You get it? I knew
you would... you’re smart like that. Once you get this basic feel down, work your way down the list.
So the next exercise would be P, I, A, M, and so on. Practice each exercise for a few minutes. This
will assure that you have a good feel before moving to the next exercise. When you’re done with
that list, move over to the next list to the right, where you will find finger combinations. When you
see two finger letters underneath a beat, that means that both of those notes should be sounded
simultaneously (at the same time). On the third list to the right we have more of the same, only this
time the thumb shares in the combination pick. This is what is referred to as a pinch-pick. It is called a
pinch-pick because the motion looks much like a pinch if executed properly. When you come to this
list, this section will make more sense.
Fingerpicking can be done in any time signature. However, 4/4 and 6/8 are by far the most
common. In fact, they will make up the majority of the songs that you encounter. To get you started,
I have included 28 exercise patterns. Granted, some of these patterns you will never use, but many
of them you will. As an exceptional guitarist, however, we want to be versatile! Practicing all the
patterns will not only develop your dexterity in regards to fingerpicking, but it will
also get you to start “thinking outside of the box” and coming up with your own patterns. Depending
on the genre of music, picking with your nails is preferred over not having nails and playing with
your fingertips. Classical, Spanish and flamenco styles almost always require the use of fingernails
while country “chicken pickin’” sounds better when you don’t have nails. YOU are the artist here.
You get to choose what best suits you. Be open and experiment with some different styles to see
what you’re most comfortable with.
Alrighty then... now get to it!
Exercises next 2 pages

1 2 3 4
P I M A
P I A M
P M I A
P M A I
P A M I
P A I M
1 2 3 4
P MA P MA
P IM P IM
P IA P IA
P MA P IM
P IM P MA
P IM P MA
P IMA P IMA
1 2 3 4
PA M I M
PI M A M
PM I A I
PM I PA I
PA I PM I
PI M I A

1 2 3 4 5 6
P I M A M I
P M I A M I
P M A M I M
P I A M A M
P M A M I M
P A M I M I
P A I M I M
1 2 3 4 5 6
P IMA IMA P IMA IMA
P IM IM P MA MA
P IA IA P IM IM
Watch this lesson:
INTRODUCTION TO FINGERPICKING

SPRINGBOARDS
I’m often asked by students, “How can I find my way around the fretboard better?” When watching
a great guitarist, they often times, make it look effortless or even impossible. Without knowing the
tricks it seems like magic. But alas, it’s knowledge. Let me emphasize that these are learned skills.
Sometimes I’m also asked why one would even care to know the notes on the fret board. Some
players may never desire to know such things, or what they play does not require them to know
it. But what they don’t know CAN hinder their playing. Don’t misunderstand what I’m trying to
convey. You might go your whole life and play in a band and NOT know the notes on the fret board
However, in certain (and many) settings if you don’t have that knowledge, you are going to look
pretty silly NOT being able to play something that is required of you.
Let’s say, I walk into a studio and the producer hands me a chart that is in the key of C - I sure
better know where a C is! If I don’t, I’m going to have problem playing a solo or improvising in any
way. So the short of it is, knowledge is power and since you are smart enough to be filling your
head by reading this, I trust you are someone that wants to excel and are ready for the challenge.
When it comes to knowing your fretboard, there are a myriad of techniques that you can use to
determine which note they are playing at any given point in a song. Below are two diagrams I refer
to as “springboards”, which are great tools to enable you to know exactly where you are on the
fretboard.
Stationary Springboards Diagram
1. Know the names of your open strings E, A, D, G, B and E. Also, remember where your root notes
are for all your open chords - E, A, D, C, G etc.
2. Know the octaves of your open strings which are at the 12th fret and those open chord roots
which are exactly 12 frets higher than their originals. So there your E, A, D, G, B & E are again.
3. Remember how we learned to tune the guitar to itself using that 5th/4th fret technique? Well,
since you know that already you have another springboard
4. 12 frets up from the notes found on that tuning technique will give you yet another springboard
location.

Movable Springboards Diagram
*All the numbered dots are “C” notes.*
1. Notice numbers 1 and 5. They are strings E and A. ANY note on those strings will have an
octave available down two strings and UP two frets as denoted by numbers 2 and 6. So 2 goes
with 1 and 6 goes with 5. Get it?
2. Now notice numbers 2 and 6. These are on strings D and G. ANY note on those strings will have
an octave available down two strings and up THREE frets as denoted by numbers 3 and 7. So 3
goes with 2 and 7 goes with 6. See, now you are getting it!
3. Now check out numbers 3 and 5. I use this one a lot, too. Since these are both on E strings(high
and low), they will always be mirror images.
4. You could also associate, for instance, 1 and 4 or 5 and 2, etc., but the others are more
apparent. The more you know, the better a guitarist/musician you become.
Watch this lesson:
Stationary Springboards - Fretboard Knowledge
Watch this lesson:
Movable Springboards - Fretboard Knowledge

The video link below is an introduction to the Nashville Number System which is a method of
notating notes and chords with numbers instead of letters. Understanding chords/notes as they
relate to numbers will vastly increase your ability to understand music theory. I highly suggest
understanding this method.
Watch this lesson:

The CAGED system is a great method for memorizing and visualizing chords on the fretboard. Have
you ever wanted to play a particular chord at a different place on the fretboard? Did you know that
you can play the same chord name in several different places on the guitar neck? Notice that the 1st
five diagrams below are based off of chords C, A, G, E, D (open major chords). Each chord form
below is a C major, however you can see that their shapes are based off of the open major chord
forms C, A, G, E and D. By now you can see why we call this the CAGED system. Notice the last
diagram showing all five chord forms overlapping on one fretboard. This means that if a song called
for a C chord, you could play any one of those forms below and it would sound good.
The “1’s” below represent the tonic, key or root. In this case, the root is C. The “3’s” and “5’s”
represent the 3rd and 5th scale notes of the major scale (see Introduction to Chord Construction).
C CHORD FORM
A CHORD FORM
G CHORD FORM
E CHORD FORM
D CHORD FORM

PRACTICING WITH THE CAGED SYSTEM
So now that you understand how the CAGED system works, just how can we practice it to make us
better players? Before we go any further, I’d like to dissect this study into two parts: concept and
fingering.
Understanding the CAGED concept without picking up your guitar is part 1 of this equation. That
is to say, you should be able to understand the concept “on paper” before attempting to actually
play the chords. Playing these chords fully or partially is yet a whole other story, but is our part 2.
That part will take a bit longer, but don’t get discouraged! Remember, these are “open” chords that
we will be attempting to assemble like bar chords. We don’t have to play every note in the chord,
but it’s nice to know that we can if we should want or need to. Firstly, you MUST know/memorize
how to play the open chords of C, A, G, E and D. If you don’t know how to do this already, you
REALLY need to brush up on those chords before going any further. If you get any deeper without
that knowledge, it will only confuse you. Knowing how the forms fall on the guitar neck is crucial
to understanding and mapping the fretboard. I use this knowledge dozens of times a day so rest
assured that learning this new concept will revolutionize how you view the fretboard. Don’t get lazy!
Complete this and you will understand the fretboard better than a lot of other players out there
today! Once the concept makes sense (see the previous page and supplemental video in the
directory), we can then tackle the fingering. I must emphasize that, although I show the entire chord,
we don’t have to play it in its entirety; in some cases it may be VERY inconvenient to do so.
So here is the method that I use myself to master these chords - see the supplemental
video found in the directory for the video representation of this section.
Play the open C chord. As with all these chords make sure that each note that should be heard, IS
heard. This will, of course, be easier for those that have had more time on the guitar. Now, for the
“A” form of the C chord, lay your 1st finger across strings 5-1(A through high E) at the 3rd fret.
Make sure that your 1st finger is totally straight. For most people this means dropping the thumb
down behind the neck so that the tip of your thumb is touching the bottom half of the neck. Unless
you have Martian fingers, or are Jimi Hendrix, you most likely will not be able to hang your thumb
over the top of the neck AND play a bar chord. Trust me, learn it the right way and then “cheat”
later if you master this technique. Okay, back to that “A” form. The first finger should be pressing
down those 5 strings that I just mentioned. The rest of the bar can be played a couple of different
ways; depending on the application, I use both. The first way you will play the 5th fret of strings 4, 3
and 2 with fingers 2, 3 and 4 (in that order). The other way is to play strings 4, 3 and 2 with finger
3 barred. The only way to get that high E to sound with this method is to hyper-extend the third finger
at the last knuckle (meaning bend it backwards a bit).
The G form is very tricky and difficult at first to play fully. First bar strings 4, 3 and 2 at the 5th fret
with the 1st finger. Then, play string 5, fret 7 with the 2nd finger. Then string 6, fret 8 with the 3rd
finger and finally the high E, fret 8 with the pinky. Getting cramps in your hand yet? You’ll get it. The
other way to play this chord is to play it partially - as I show in the video. Hanging in there? Don’t
give up! This stuff takes time; NO ONE just gets it right away. Myth and ego say that one person
can do this and not the other. Don’t buy into it! You will be just as much a player as Hendrix or
Stevie Ray IF you practice like they did.
Okay, so the “E” form is much easier. In fact, if you know how to play a full F chord (at the 1st fret),
then you know how to play this chord already. Just scootch it up to the 8th fret! If you don’t know
the F, then place your 1st finger at the 8th fret and lay it across all 6 strings (just like on the “A” form,
you must drop that thumb and get your hand out in front of the fretboard a bit). Then place your 3rd
finger on the A string at the 10th fret. Followed by the pinky on the D string at the 10th fret and the
middle finger on the G string at the 9th fret. I’m purposely changing from string numbers to names
(letters) because it’s important that you know both.
Lastly, the “D” form is a little tricky, too. Place your 1st finger on the 10th fret of the D string. Then
place the 2nd finger on the 12th fret of the G. Then place the 3rd finger on the 12th fret of the high E.
Finally, place the pinky on the 13th fret of the B string. BAM!! Now you are playing the “D” form of
the C chord. Now, let’s do one more form because you are going to need it for keys other than C.
Since the “C” form in C is played open, we need to see what it would look like as a bar chord. So,
for this example we are going to play a “C” form of the D chord. Place your pinky at the 5th fret of
the A string. Then place the 3rd finger on the 4th fret of the D string. Place the 2nd finger on the 3rd
fret of the B string. Finally, bar strings 1, 2 and 3 with the 1st finger at the 2nd fret. Now you have a
movable C form. Get it?
Watch this lesson:

Bar chords, also known as barre chords, are any chord that requires at least one finger to press
down multiple strings simultaneously (at the same time). Bar chords allow guitarists to play chords
that are not restricted to the open strings. Bar chords are known as movable chords as each form
can be moved up and down the neck in a linear fashion. That is, one bar chord formation will allow
the guitar player to play a chord in any key by merely moving it up or down the neck. Bar chords
can be used in conjunction with open chords or with other bar chords. Bar chords are sometimes
necessary when a song requires a chord to be played that cannot otherwise be played open. Any
chord played in the open position can be replicated as a bar chord further up the neck, given of
course that the guitarist has built the strength and dexterity to do so.
“So hold on Erich! You are saying that anything I play in the open position can be played further up
the neck in bar chord fashion to produce the same chord in every other key?” Yes! That one concept
alone will open your playing up quite a bit. That means that many of those open chords that you
know already are going to become our patterns or “templates” for the first set of bar chords that you
should learn.
As you probably know already from watching my instructional videos on my YouTube channels,
many of my lessons are based around open chords and the use of a capo. I try to keep things as
simple as possible when teaching. My philosophy is, “there’s no need in complicating something
that’s not complicated”. There are plenty of intricate guitar parts that cannot be simplified. In those
cases there is no way around it. Sometimes however, even the simplest of songs call for bar chords
and there’s no way around that, either. The capo can be used to limit bar chords or change the
forms of the open chords that you would use, but sometimes you just have to play a bar chord. In
those cases wouldn’t it be nice to have that ability?
Some guitar players might skip this section fearing the dreaded bar chords. While others may feel
that their playing does not lack without bar chords. But that’s not you! You are wanting to excel as a
guitarist and I am going to help you! That being said, bar chords are challenging for guitarists who
have never played them. Remember you and your hands are learning a new concept! Please be
patient with yourself during this process and understand that everyone from Jimi Hendrix to Steve
Vai had difficulty with bar chords in the beginning. I have taught hundreds of students over several
decades and have never met a student, even my best, who got this concept immediately. So be
encouraged, take your time, watch the videos and enjoy the process. There are literally thousands of
bar chords, but here we will only be using the ones that you will use the most. The more you practice
them, the faster and better you will become.
I like to break the subject of bar chords down into two sections:
1. Understanding the forms
2. Playing the chords

Understanding the Forms
Check out the attached pages with the bar chord diagrams. You will notice that I have separated
these as sixth string roots and fifth string roots. That means that the root, or letter name of the chord
is located on either the sixth or fifth string. For this first example see the sixth string bar chords page.
Now locate the first major chord. Does anything look familiar about that form? That form comes
from our open E major or E chord. Now look at the minor chord form that is two chord forms to the
right. Now play an E minor chord. Do you see the similarity? If not, hang with me! Now go to the
bar chords page with the fifth string roots. Look at the third chord. This chord form comes from the A
minor(A-) chord. Are you seeing the pattern?
Notice the red circle that is in each bar chord. That circle represents the root of the chord. The root is
essentially the one note that the rest of the chord is built upon. It is also the letter name of the chord.
For instance, A major, A minor, A7 and A-7 all have “A” as the root or letter name. The rest of the
notes in the chord determine it’s “flavor”, as in: major, minor, 7, -7 etc. So that means every time you
move that bar chord the letter name of the chord changes also. Each of the bar chords on the bottom
row of the fifth string roots page have the red circle located at the second fret of the fifth string which
is a “B”. Therefore every chord in that bottom row has a “B” root. The “flavor” of the chord is located
above the form. Therefore, if you moved each one of those chords up a half-step, you would then
have a “C” in the root. Get it? I knew you would! Now that you understand where the forms come
from and how they move about the fret board, let’s talk about how to play them.
Playing the Chords
Understanding how the chords move about the fretboard and actually playing the chords are two
totally different things. When playing bar chords, lazy or poor technique will quickly limit you. There
are a lot of other techniques - like playing single notes - that guitarists can “fudge”, even with poor
technique. Not so much with bar chords... so trust me through this process. Watch the associated
videos and keep practicing until you get this. No one gets this right off the bat; it is a learned
technique that the more you do, the better you become. Now that we have that excuse out of the
way, let’s do this thing!
As someone new to playing bar chords, the following points are of utmost importance! If you find
yourself having difficulty, make sure you are aware of the following:
1. The finger that does the barring, MUST either be perfectly straight, or better yet hyper-extended.
Here is a great exercise: Lift your fretting hand up and view your index finger from the side.
While viewing it from the side, straighten the finger. Now go beyond that and see if you can’t
slightly bend the finger backwards. Obviously, our knuckles don’t allow us to bend the finger
back too far, but just that little bit is what we call hyper-extended. In this hyper-extended
position, your finger is ideally situated for evenly distributing the weight of that finger across
all the strings in your bar chord. Even if your finger is perfectly straight, this is a great place to
start. I usually tell my students to hyper-extend that finger a little bit because I know the natural
tendency is to bend it the other way - which is awesome if you want your bar chords to sound

like poo! If the barring finger is flexed or bent in its natural direction - even the slightest bit -
during the bar chord, you most likely will have some unwanted muted notes.
2. In order to have that straight or hyper-extended barring finger, we need to make sure that our
thumb is on the back of the neck closer towards the bottom part and not lazily hanging over the
top of the neck. That may be fine for lead work and open chords from time to time, but it’s the kiss
of death when playing bar chords. So don’t do it!
3. Keeping your thumb on the back of the neck should allow for some space between the palm of
your hand and bottom of the guitar neck. Again, at least in the beginning, you want to make sure
that space is there, otherwise you will have difficulty with your bar chords.
4. For the fingers that are not barring, but are playing individual notes, make sure that those
fingers are playing directly on the fingertips and not on the pads. This is extremely important! I
emphasize this a bunch in eBook one and I am not done preaching about it. Seriously, for my
students that are playing sloppy bar chords or claim that they can’t play them at all, they are
always breaking one of these rules... or several. “So listen to me now and believe me later”. For
those other fingers remember, “Fingertips! Fingertips! Fingertips!” For now, the trick will be to bar
your barring finger properly, while properly playing on the fingertips of all the other fingers. If
you don’t give up and practice, YOU WILL GET IT!!
Practice, practice, practice!! You’ve heard me say it and you’ll keep hearing me say it! You are only
as good as how long and how well you are practicing! No one is a “natural” at this; anyone who
desires this skill must practice it.
This kind of direction is difficult to put into words. You’ve heard it said before that a picture can say
1000 words. Well a video can say about 10,000 words! Please watch the associated videos after
reading this as they will clear so much up for you.
Bar Chord Charts are found on the following pages


Watch this lesson:

A pentatonic scale is a musical scale with five notes per octave - in contrast to a heptatonic (seven
note) scale, such as the major and minor scales.
As the name suggests, the pentatonic scale is a five note scale. It is easily the most widely used scale
throughout world music including rock, pop, blues, jazz and other contemporary and traditional
genres of music. It differs from the major scale in that there are two notes missing. Musicians
evaluate all chords and scales according to the major scale. It’s our benchmark, if you will. So, if
you took the fourth and seventh note out of the major scale you would have the major pentatonic
scale. Yep, it’s as simple as that!
But there is something special about the pentatonic scale that makes it sound unique and why it’s so
widely used. Think about the ingredients in a recipe. A simple recipe with three or four ingredients
can often times taste better than something with 30 ingredients. In the case of notes, more is not
always better. If we are comparing the major pentatonic scale to the major scale, then the notes
represented would be one, two, three, five and six. Remember we said that the fourth and seventh
notes of the major scale are not played.
The minor pentatonic has the same shape, but as you will see in the diagram that follows, would be
played in a different place. If you already know the minor scale, then just take out the 2nd and 6th
scale degrees (notes) - everything else stays the same. If this part does not make sense to you, hang
in there. You can also learn this by memorizing and knowing how to use the forms.
So how would we actually use this scale? Play an A minor pentatonic scale over an A minor chord
progression and it will sound pleasant to the ear. For instance, have a friend play this progression:
A-, C, F, G. Then play an A minor pentatonic scale over that and you will find that it is “harmonic”
to your ear. The G major pentatonic scale played over a G major chord progression will also
sound harmonic to your ear. Have a friend play this progression: G, G, C, D and play a G major
pentatonic scale over that and you will find it pleasing to your ear. Note that you must use the
associated minor pentatonic scale over a minor chord progression. Conversely, you must use
the associated major pentatonic scale over a major chord progression. For instance, if my chord
progression is in “A minor”, then I would use the A minor pentatonic scale. If my chord progression
was in “A major”, then I would use the A major pentatonic scale over the top of it and it would
sound harmonic.
These are good “rules of thumb” to follow, however, music is art and technically there are no rules
in art! Anything goes! I say that for two reasons. The first reason, if you play music long enough, you
will discover every rule being broken at one point or another. The second reason is to free your mind
from rules that might limit you in music. With that being preached, it was Bach who said, “Remember
all the rules...and then forget them”. There have been several other musical greats that have said
similar things, so adhere to this wise knowledge. For instance, in blues it is common practice to play
a minor pentatonic scale over a major chord progression. “But you just said...”! I know! Musical
rules can be broken, but not before you learn how to do it the right way first. Try it for yourself.
Check out my lesson on the 12 bar blues progression. The chord progression that I cover is A7, D7
and E7. Those three chords are major chords. In fact, when played together, those three chords
create a chord progression that suggests A major is the key. However, the A minor pentatonic scale
sounds great over this. Try it out for yourself with a friend. In fact, try both the A minor pentatonic
scale and the A major pentatonic scale and see how differently each one sounds.
So what can you do now that you have this knowledge? Well, in short you can play melodies
over nearly every chord progression that you hear. In order to do this, first find out in what key the
song is. If it is in a major key, use the associated major pentatonic scale over the top and “noodle”
around with the notes to create melodies. A lot of Tom Petty’s songs use the pentatonic scale, but
again he doesn’t make it a rule, it just happens a lot. Conversely, if the song is in a minor key, use
the associated minor pentatonic scale to noodle over the top of it. Get it? If it’s an A minor chord
progression, then use an A minor pentatonic scale. If it’s a G# major chord progression, use a G#
major pentatonic scale. It’s as easy as that!
Another great way to practice this is to take some songs from your MP3 player that you already
know, find out the key and noodle over the top of it. Also, it’s helpful to play the song several times
in a row while you do your noodling so that you can get the feel and tempo of the song. While
you’re doing this, notice how each note of the scale sounds. Y ou might notice that one note wants
to move to another note. This is called “tension”. Notice how the tonic or root note sounds good at
any time. It is the most restful note since it is the key of the song you’re in. Also notice how any other
note other than the root played at the end of a phrase makes the phrase sound like a question. That
is to say that ending a phrase on the root note sounds like the period at the end of a sentence and
any other note makes it sound like there’s more left to be said - as if the note were a question mark
or comma.
Once you get the hang of this, another exercise that I love to do is to put the radio on, use my ear
to determine the key of a song, and then noodle over the top of it with the appropriate pentatonic
scale. When the next song comes on, do the same thing. Some of you won’t be able to do this as
your ear hasn’t developed yet, but it will in time. This exercise will develop both your ear and lead
playing skills rapidly.
The pentatonic diagrams and how to practice them.
This is always where the rubber meets the road. Reading and doing are two different things and
I promise you that the “doing” of this will most likely help you to understand this concept better
than the reading portion. So, if the last few pages left you shaking your head in confusion, be
encouraged because you are going to get this. As I say to my students all the time, it’s helpful to
look at a particular concept from several different angles. Doing so allows you to understand it at a
deeper level. This goes for all subjects in life, not juvst guitar or music.
Now take a look at the pentatonic diagrams on the following pages. I have separated these into the
A minor pentatonic scale and the C major pentatonic scale. Now also notice how both these scales

share the same exact notes and the same exact patterns, but their tonics (the red circle notes) are
different. Why is that? Because C major’s relative minor scale is A minor. If you’ve read the relative
major/minor section of this book already then this will be clear to you. If you have not and you want
to understand the relationship of the two scales, please read that section first.
So considering everything that I’ve discussed already about how to use what scales over what
progressions, all of the A minor forms of the pentatonic scale would work best over an A minor
chord progression. To use the C major pentatonic scale, it would sound best over a C major chord
progression. Now I can already hear you asking, “But they are the same scale, why can’t I use
either?” The answer is you can. They are the same exact scale, however over the C major chord
progression, “C” is your tonic or key; over the A minor chord progression, your tonic is “A”.
Form one of these diagrams is by far the most important scale pattern in all guitar playing, in all of
history, for all genres, Amen! Let me say it again, form one is an invaluable pattern that you will
find in all genres of guitar music. Learn it, memorize it and know it inside and out, backwards and
forwards. After you have mastered form one it’s up to you which forms you want to learn. I like to
work my way out in either direction of form one. Memorizing each of these forms may take you
several weeks, or an hour of concentrated practicing. Once you have all the forms memorized and
don’t have to look at the diagrams any longer, start moving them up the fretboard one fret at a time.
At first you will probably only be comfortable with moving one pattern up the fretboard until you
reach the end. Make sure that you work it down the fretboard and work it into the open position as
well, not just down to the first fret position. As you get more acquainted with each form across the
entire fretboard, then start thinking about using all the forms in one particular key before moving it
up fretboard. Before you do this, it’s a good practice to name the key that you are in. For instance,
say “A minor pentatonic”, before you begin the exercise and play through each form until you do a
complete cycle of the guitar neck. I always start at form one and work my way up the neck. When
I run out of frets, I start over in the open position and continue on until I’m back where I started.
Then I move to the next key, “A# minor pentatonic”, and so on. Once you do this for all the minor
pentatonic scales in all the different keys, do the same routine for all the major pentatonic scales.
Yes, I know it’s the same forms, but starting the scale from the new major pentatonic key will help
you to see these forms in both the major and minor relationship.
In regards to how to pick these scales, I practice them a few different ways. Depending on your
proficiency, beginners should start off picking every note with a down stroke. After you have
mastered all the forms and are then able to concentrate a bit more on the picking hand, it’s
important to start developing your alternate picking technique. To do this, pick the first note down
and the second note up and follow this pattern to the end of the scale. Don’t try to complicate this
one. It’s easy if you do it slowly! Just down, up, down, up, down, up, etc. Since this scale is so
uniform and only has two notes per guitar string, it is a great exercise for practicing “hammer-ons”
and “pull-offs”. See the tablature section of this book if those terms are new to you. Otherwise, pick
the lower note on each string and hammer the note just above it. If you want to practice your pull-
offs, pick the higher note on each string and pull off to the note just below it.

There are literally months and possibly years of potential practice that can be gleaned from these
exercises. I have used them for years and still do on a weekly basis. Be patient but persistent. These
exercises will allow you to master your fretboard and develop your left and right-hand techniques.

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I like to teach the blues scale as to how it relates to the pentatonic scale. If you haven’t read the
section about the pentatonic scale, please do that now as we will be building upon that information.
If you are already familiar with the pentatonic scale, then you are more than half way to having a
good understanding of the blues scale and how to use it. With that being said, the blues scale is the
pentatonic scale with the addition of one more note. If you are playing the minor blues scale, you
will be adding the flatted fifth to the minor pentatonic scale. If you are playing a major blues scale,
you will be adding the flatted third to the major pentatonic scale. If you remember from eBooks
one and two, the major scale is extremely important to musicians and it’s our sole benchmark for
analyzing chords and scales. So if we wanted to find the flatted fifth of the A minor pentatonic scale,
we would need to play the A major scale to find the fifth note to flatten it. If we wanted to find the
flatted third of the C major pentatonic scale, we would need to play the C major scale and find
the third note to flatten it. That’s why it is called the flatted fifth or flatted third. It’s not crucial that
you understand how we came up with that, but if you’re like me you like to know the “why” about
things. You can always look at our diagram that follows this text description and see just how closely
the pentatonic and blues scale actually are. Try as you may, you can’t play the blues scale without
sounding “bluesy”. Therefore, it’s going to be our scale of choice for this style. The minor blues is a
more widely used and accepted sound; however major blues is also acceptable and has its own
flair. Since the whole idea of blues music is that which cries and sings, I personally prefer the minor
blues sound.
The Blue Note
The blues scale is the pentatonic scale with an added note known as the “blue note” (denoted as
“BN” in the following diagrams). As useful as the pentatonic scales are, adding the blue note will
seriously “blues up” your playing. The blue note is often used as a passing tone. A passing tone is
also known as a “non-chord” tone. Its sound is a little bit more volatile or unstable whereas the rest
of the scale is very stable. When teaching the blues to my oneon-one students, I refer to the blues
tone as the “hot sauce” that we put in chili. The main ingredients in chili are going to be things like
beans and tomatoes, but what is chili without hot sauce or chili sauce? Exactly! It would just taste
like beans and tomatoes. However, too much hot sauce and your chili is too hot. Not enough hot
sauce and it’s going to be boring and bland. Now obviously one’s personal taste regarding chili
would determine how much hot sauce one desires. In the same way, the blues note can be used to
taste, but as a rule is not used as much as the other notes. Also, you will notice that the blue note is in
between two stable notes from the pentatonic scale. If you were to play this three notes going up or
down, the blue note is very palatable and easy to listen to. If you jump straight to the blue note
from another note in the scale and resolve it to either the note above or below the blue note it will
be a little less stable, but still work. Lastly, if you approach the blue note from any note in the scale
other than the one above it or below it, and follow it with any other note other than the note above
and below it, it will sound very strange and not very palatable whatsoever. When you’re done
reading this section, try experimenting with these three examples. It will really help you get a better
understanding of the blue note and just how to use it in your playing. With all that being said, music
is art and the “rules” of art are meant to be broken. So have fun with it! If you are having a problem
adding the blue note, make sure you are not isolating it like the third example.
FORMS START ON THE NEXT PAGE
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CONCLUSION
My friend! If you have made it through this e-book, consider yourself a champion! Knowing what
not to learn is often times as important as knowing what to learn. That is the precise reason why I
have included and not included certain things in this e-book. To me, this e-book encapsulates the
most important things that every guitar player should know in the order that they should know it,
while leaving out the stuff that you probably are not going to use very often. If I had included that,
this e-book would be 100 times its size. So, congratulations! You now know more then 95% of the
guitar players out there. Really! This information when applied will create a lasting foundation in
guitar that will allow you decades of fun and enjoyment. Thank you again for trusting me with your
guitar education. Please let me know how I can help you. I truly am passionate about my students
and their success. Feel free to hit me up on social media and take advantage of all the free goodies I
have for you.
As always my friend, be kind to all beings, do the right thing ALWAYS and practice your guitar!
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© 2018 Your Guitar Sage 1

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© 2018 Your Guitar Sage 3

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30,000 Foot Overview of Guitar

Choosing an Acoustic Guitar

Choosing an Electric Guitar

Anatomy of the Acoustic Guitar

Anatomy of the Electric Guitar

Definitions That We Will Be Using

Proper Posture & How to Hold the Pick

Introduction to the Physics of Sound

Basic Picking Technique - Pick Rest

Basic Fretting Technique

Naming the Notes on the Fretboard

How to Read Tablature

Stacatto Vs Legato Technique

How to Read Chord Stamps

Tuning With a Tuner

Basic Chord Technique

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Advice and Encouragement

Changing Chords - Transitions

Basic Rhythym Lesson

Basic Strum Technique and Exercises

Picks and How the Gauge Affects Your Playing

If You Are Still Having an Issue With Strumming - Try This!

Why Do You Want to Play Guitar

Practice Schedule - How to Practice

Guitar Care 101

Workout for Your Hand Without a Guitar

“Perfect Practice” As Opposed to Just Practice -HOW To Practice (Bonus #33)

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Choosing an Acoustic Guitar

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Anatomy of the Acoustic Guitar

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Interval – The pitch distance between 2 notes.

Chords – 3 or more notes played together.

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Definitions That We Will Be Using

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Proper Posture & How to Hold the Pick

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• The musical alphabet goes from A to G (there is no “H, I, J”, etc.)

• A half-step is the distance between 1 fret and the next on a guitar

• A whole step is equal to 2 half-steps or 2 frets distance

• A sharp (#) is when we raise a pitch by a half-step

• A flat (b) is when we lower a pitch by a half-step

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