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Major And Minor Pentatonic Scales On The Guitar

Pentatonic scales are widely used scales on the guitar. They are hugely popular mainly because they are quite easy to play and are very easy to use in a musical situation right from the start. Something about pentatonic scales just ‘sounds good’. Used in the right context, it’s almost impossible to make them sound bad or unusual. This means that they are often one of the first scales that guitarists learn and use in their playing.

As the name suggests, a pentatonic scale is a 5-note scale. The two most common pentatonic scales are the major pentatonic and minor pentatonic scales. In this lesson, we are going to discuss the theory behind pentatonic scales and look at how to play them up and down the neck. If the theory gets a bit much a digest, have a go at playing the scales and come back to the theory when you are ready.

Percussive Strumming – Add Groove to Your Strumming

by Genaaron Diamente

The final element that we are going to analyze in the series on strumming is percussive sounds. Strumming patterns take on a new dimension when used with the percussive noises available on the guitar.

What Are Percussive Mutes?

Firstly, when we talk about percussive sounds while strumming, we are really talking about the mute sound that occurs when the right hand strums the strings of the guitar without any notes ringing clear. It produces a muted sound because the palm of the hand follows through, touching the strings and preventing the strings from ringing. The result is a dead, thud-like sound that sounds more like percussion than guitar. Keep in mind that this is different from the traditional ‘palm mute’ which involves playing notes while the palm lightly touches the bridge of the guitar to produce a dry, but still clear notes.

Ionian Mode Explained – Theory, CAGED Positions and Diagrams

by Genaaron Diamente

The Ionian mode is the first of the 7 modes. Essentially, it is just a major scale with a different name. In the lesson, Guitar Modes Explained, we have looked at producing and analyzing modes from a derivative and parallel approach. If these terms are unfamiliar, please read the post on guitar modes explained.

In a nutshell, a mode is produced by playing a major scale and starting on a different note of the scale. For example, to play the dorian mode, simply play any major scale and start on the 2nd note. The phrygian mode is produced by playing a major scale and starting on the 3rd note of the scale. Well, the ionian mode is effectively a major scale that starts on the 1st note of the scale. It’s simplicity is almost confusing, so if you are confused, just know that the ionian mode and the major scale are essentially two different names for the same thing. Therefor, to understand the ionian mode, you need to understand how major scales are constructed.

How to Strum With Dynamics

by Genaaron Diamente

Varying dynamics is another ‘secondary variable’ of strumming. Much like string selection, it can be a great tool of expression when strumming, yet an awareness of it is not necessarily required to strum effectively. Again, just like string selection, use of dynamics often occurs naturally to the guitarist and its subtleties vary in a similar, unpredictably expressive fashion.

Dynamics, in a nut shell refers to the volume of the strumming. Loud and soft and everything in between. While dynamic variation occurs in every strumming pattern that you ever hear (intentionally or otherwise) it is almost never annotated. Doing so would be an almost ridiculous task. Accents can often be used to emphasize a certain strum, or beat of the bar, but it is almost impossible to go through every strum of a song and accurately describe its velocity or volume. So why write about it here? Because although it doesn’t always get a mention on the sheet music, it is a very prominent and important characteristic of strumming and it is important to experiment with dynamics, or at the very least be aware of its presence when learning to strum. Think of it like altering the pitch of the voice in speech. You don’t necessarily think about how you are modulating pitch, but to not change pitch would result in a very weird, robot like voice. As well as that, altering the pitch in an unusual or forced way sounds strange and uncomfortable.

How To Strum While Striking Different Strings

by Genaaron Diamente

So far, in the series of lessons on how to strum, we have looked at the fundamentals of rhythm and how they apply to right hand movement. Those two elements of strumming are what could be defined as the primary elements. Without them, strumming just doesn’t work.

There are other, more secondary elements to strumming as well, which might not be as obvious as the first two but are still very important elements of strumming like a pro.

In this lesson, we are going to look at string selection with the right hand. We know that when it comes to strumming, the right hand’s main function is to move up and down, connecting with the strings at certain points to create rhythm. What we are looking at with string selection, is which strings to hit when strumming. While it is possible to strum all six strings for every down and up strum that you perform, in reality, it is very common and musically appropriate to vary the strings that are struck.

Right Hand Movement and Strumming

by Genaaron Diamente

Right hand movement is the physical action that actually equates to strumming. In its most simple form, there are two ways to strum the strings with your right hand – down and up. There of course are other variables which we will look at in other lessons (such as string selection and dynamics) but essentially you can strum the strings in a downwards direction and an upwards direction with your right hand (I’m assuming for the sake of simplicity that everyone reading this is right handed).

A good exercise to do is to pick up a guitar and finger a chord with your left hand. I would recommend playing a chord that uses all 6 strings, such as an open E chord. Once you have the chord ready, simply strum down, then up, then down, then up etc. Try to be as consistent and even with your timing as possible. This is the basic action of strumming. If you can’t do this, you need to keep practicing it until you can, before moving on. Don’t worry if the sound is a little inconstant or sluggish. Of course, we ultimately want evenness and groove, but this will come.