My School Of Rock

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My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

My School Of Rock

My School Of Rock (The Guitar Academy),#1 3rd Cross 5th A Block Kormangala 560034 Bangalore Phone No:+91 9483506398

Learn To Play RadioActive - Guitar Lessons @ My School Of Rock ,Koramangala ,Bangalore

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Our First Lesson teaches you to play the song Radioactive by Imagine Dragons .

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Write Better Chord Progressions - Guitar Classes Koramangala - Guitar Classes Bangalore


How To Write Better Chord Progressions

1) Use only Major or Minor chords.

Just keep things simple. The Major and Minor chords only have 3 notes in them. For example, C Major has the notes C E G. The chord C Minor has C Eb G. This limitation will help you quickly make decisions about what kind of chords to use. The trick is always to limit yourself to help you make decisions.


2) Begin and end with the same chord

The thing about music is that it’s like a game. You have to start in one place, go away from it for a while, and then figure out how to get back. In this case I’m going to start with the chord A Minor:



So what chord am I going to end with? A minor. Again, limitations are helpful.
3) Move freely among diatonic chords

The word Diatonic means “from the tonic”. Well, what’s this thing called a tonic? The tonic is the main pitch of the composition – it’s the note from which every other note is based. In this imaginary piece of music, the tonic I’ve selected is A. I’ve decided that I want the piece to be in a minor key – A Minor. From the tonic I construct the A Natural Minor Scale: A B C D E F G.



You can build seven (7) “diatonic chords” off of each note in the above scale meaning that you’ll only use notes from the A Minor Scale resulting in mostly Major and Minor chords. For example, if I was to build a diatonic chord in the key of A Minor from the note C, then I get a C Major chord, C E G. Here are all of the diatonic chords in the key of A Minor:

Diatonic Chords


Diatonic Chords

Here’s the secret: You can move freely around these diatonic chords in any way you want. You just have to find the progression that works best for the track.
4) A chord of one type may move freely to any other chord of the same type.

Now to make things interesting. Let’s say you want to use a chord outside of the diatonic chords. Is that allowed? Yes. Will it sound good? Well, that’s up to you. Simply put, you can start from a diatonic Major chord and move to any other Major chord. For example, Let’s say that my chord progression starts like this:
A Minor | D Minor | F Major

Am Dm FM



What’s my next chord? Can I go to Eb Major? Yes. How about Bb Major? Yes. Any Major chord will sound good. The trick is to end the series of Major chords on one of the three a diatonic Major chords:

A Minor | D Minor | F Major | Eb Major | Bb Major | C Major (diatonic) |

Am Dm FM EbM BbM CM


The same goes for Minor chords. Make sure to end on one of three diatonic Minor chords:

A Minor | F Major | D Minor | Bb Minor | Eb Minor | D Minor (diatonic) |

Am FM Dm Bbm Ebm Dm


Am FM Dm Bbm Ebm Dm
5) The root of the next to last chord must move by 2nd, Perfect 4th, or Perfect 5th to the last chord.

Remember that music is like a game and you’re trying to figure out how to get back home. We know that the last chord is the same as the first chord, but what about the next to last chord? That chord is very important because it helps the music lead into the last chord. The options you have for the penultimate chord have to be a 2nd above or below the tonic, or a Perfect 4th/5th above or below the tonic. Not sure what these numbers mean? That’s okay. We’re talking about intervals, or the distance between two notes. Here are all of the options for the key of A minor:

2nd Below: G Major > A Minor

GM Am

Perfect 4th above / 5th below: D Minor > A Minor

Dm Am


Perfect 5th above / 4th below: E Minor > A Minor

Em Am


Em Am

Why not a 2nd above? Because that would be B Diminished > A Minor and that would go against Guideline #1.
6) The roots of the chords must support the tonic and they must form a singable line.

After you finish your your progression, take the roots of all of the chords (A is the root of A Minor, C is the root of C Major, etc.) and play them in a row. Does it sound like a good, singable melody? If so, then you probably have a great chord progression on your hands. Some people, myself included, actually like to start with this step. Here’s my example of a chord progression following all 6 guidelines:

A Minor | E Minor D Minor | C Major | Eb Major G Major | D Minor G Minor | D Minor | E Minor | A Minor |
Chord Progression

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Learn To Read Music |Guitar Class Koramangala |Bangalore|HSR Layout|Indiranagar

Naming Notes
The Seven Letters –  The seven letters representing the tones used in music are the only letters in the English alphabet used in naming musical notes; A, B, C, D, E, F and G. Sometimes the designations are referred to as the spelling of the note. There are some variations especially when the note has to be altered to “fit” into a scale system or better still, to act as a relevant and pleasing note within a specified series of notes.
The Staff – Note Placement
Note Placement – Note placement, on the other hand is where we put the notes on the five-line four-space staff. This is the primary factor in naming notes.
Notes are placed on either a line or in a space of the musical staff. Each line and each space has a designated name. When a note is placed in a specific location on the staff it assumes the name of the line or space on which the note is placed. There are other symbols used in music notation that change that rule and we will discuss these later in this same article.
Note Identification - General Staff
The chart above shows a portion of the piano staff which includes both the treble and bass clef staves and their respective symbols. The vertical lines, in the middle and to the right, delineate one measure from the next, so two measures are shown in the chart. This piano staff layout also includes a vertical line which ties the G-clef and F-clef staves together. It is the line on the left of the chart above.
The piano staff is a basic staff structure which we will be taking parts of to show specific tools used in music notation. Since some of you are familiar with the treble clef and others are familiar with the bass clef, we will present information from the overall concepts within music theory on each staff making it more user friendly for both. This presentation can be used as a foundation for extending your learning about both staves and their related line and space names.
Treble Clef and Bass Clef Line & Space Names
I do not feel the need to change the conventions commonly associated to the names of the lines or spaces as they have historically taught to many who have come before which makes it easy to remember them. Here are those conventions.
Treble & Bass Clef Line and Space Names
Treble Clef Lines
EGBDF = Every Good Boy Does Fine.
Bass Clef Lines
GBDFA = Good Boys Do Fine Always
Treble Clef Spaces
FACE = Spells the word face
Bass Clef Spaces
ACEG = All Cows Eat Grass
You are free to make up your own or to use the conventional acronyms as described above. Use whatever method will help you to remember them.
Notes on the Lines – To clarify this better, the following two graphics show the note names associated to the lines and the spaces of the G-clef and F-clef staves. I have also prepared an mp3 of these notes and the highlighted mp3 link is shown for each set of notes and labeled as such.
The violin is playing the notes on the treble clef and the cello is playing the notes on the bass clef.
G-Clef Lines
Note Identification - Note Names and Line Names
F-Clef Lines
The chart and the sound samples above demonstrate all of the note names based upon their placement on either the G-clef or F-clef staff. What is nice about this is that all of the line and note names are always the same. They never change unless you use a different staff such as the C-clef staff, for example.  Since most music is written on these two staves it is important to learn them, so once you do you will be pretty much set.
One additional comment – Depending upon which instrument is playing these notes they will sound similar in the basic sense, however, they will also sound somewhat different. The reason for the differences is each instrument is unique and it can be made from different materials, different quality of materials, is a different size, has different string tensions, etc. Consequently, each has a different character or creates and emanates different sound qualities.
G-Clef Spaces
Note Identification - G-clef and F-clef Note Names
F-Clef Spaces
Spaces and Note Names – The same holds true for notes placed on the spaces of the staff as shown above.
Together these two charts include all of the natural note names for the lines and spaces as commonly used in music as well as graphically showing where the notes are actually placed on the staff. Hopefully the mp3’s help you with the associated sound. I suppose inadvertently we have started a bit of ear training by presenting the information in this way.
All of the natural notes and their related line or space are named on both the treble and bass clef staves.
Three Octave Span – We can look beyond the five-line four-space staff by using ledger lines. The next two graphic displays include note names spanning three-octaves. You may want to make a mental note of the note names that are on the ledger lines and those in the spaces between them. I would recommend learning the note names for up to a minimum of three ledger lines above and three below to start.
Without any other mechanism to alter their locations on the staff, one can see that it might become a bit difficult to read note values written way up high and way down low, especially to the extremes possible.
For our next example, we have made a G-clef chart showing the three ledger lines both above and below the five-line four-space standard staff.
Note Identification - Colored G-Staff
For this next example, notice how it can become very difficult to quickly name the notes for notes for those placed either on a line or on a space when there are so many ledger lines as seen on the left of the chart below. Again, three octaves are shown.
Note Identification on a multi-colored F Clef Staff
The notes shown in the two charts above are not inclusive of all of the notes available for either staff, however the majority of music is written in the three octaves shown above. Higher and lower notes are available but only on certain instruments which will be explained in later posts. The intent is to demonstrate the note names only spanning three octaves on each staff and to demonstrate the difficulty of reading music on a staff with many ledger lines.
Altering Note Frequencies – Octave Marks
For this very reason, other notation marks were adopted which alter a note’s playing range or the octave in which the performer is to play it in. The octave marks makes it much easier for the performers to read the music at the same time especially when music is written so far above or below the staff.
Rather than raising or lowering a notes value by a half step or more, as the accidentals cause or directs, the octave marks tell the performer to play them either an octave above, an octave below, two octaves higher or two octaves lower than as notated on the staff.  The note name remains the same however the note’s frequency value is changed as a consequence of using these octave markings. We just move up or move down one or two octaves depending on the mark’s instructions which we will demonstrate below.

The octave marks shown immediately below are used to change the notes frequency value in this case one octave above where it is notated on the staff. The following four graphics show the main octave marks used in music notation, the Ottava Bassa and the Quindicesima and their respective variations.
The Ottava Bassa symbol is used to raise the notes value an octave above its location on the staff and it is shown immediately below.
Note Identification - Ottava Bassa - Eight Notes Higher
C – Up One Octave
Ottava Bassa – va – In the above graphic, in the first and second measure, we have tied together two whole notes placed on the staff as C notes. Above these two measures is the octave marking, ottava bassa – va (shown in red), directing the performer to play this note one octave higher than as notated. The consequence of this direction alters its frequency but not its note name. The performer would play these notes as shown in the second two measures, one octave higher than as shown in the first two measures when using the ottava bassa va marking.
The sound clip provides an aural example of the effect of using the ottava bassa va symbol.
It is important to take note of the actual design of this marking in so far as there multiple parts to it. First, the number 8 is used to designate eight notes and the va letters tell you to raise the notes frequency, so you play the designated note, eight notes or one octave higher than shown on the staff.
Secondly, a dotted line carried to the end of the passage and one short vertical line at its end pointing downward is used to instruct the performer how long to play at this octave level and where to stop the instruction.  Generally, if only one note is required to be played one octave higher only the number 8 or the 8av is used otherwise it is required to use the dashed and vertical lines as shown. This general design holds true for most of the octave markings, however there are subtle and important differences so we are showing them separately.
Ottava Bassa – vb – In the chart below, the second ottava bassa is shown. Again, we have tied together two whole notes placed on the staff as C notes. Below the staff of the first two measures is the octave marking ottava bassa vb directing the performer to play this note an octave lower than as notated. The consequence of this direction is to play the note at the location shown in the second set of two measures. In this case, one octave below.
C – Down One Octave
Note Identification - Ottava Bassa vb - Lower Eight Notes
Graphically, three differences exist between the ottava bassa va and vb symbols. The ottava bassa va, placed above the staff, and ottava bassa vb, placed below the staff. The second difference is in the designation va versus vb.  The third difference is in the direction of the vertical line at the end of the dotted line. One points upward, ottava bassa vb and the other is pointing downward, the ottava bassa va. The ottava vb is shown above to aide in your understanding of these two symbols. The common use of the number 8 is used to designate the raising or lowering of the note or notes by one octave.
Quindicesima – In the next chart, we are using a different starting note value in the display. We have tied together two whole notes placed on the staff one octave lower than the previous two examples and again, it is a C note.
Above the staff of the first two measures, again shown in red, is the new symbol for directing the performer to play the note two octaves higher than as notated on the staff.  The consequence of this direction is to play the note at the location shown in the second set of two measures, two octaves above. Here is the marking and the audio file clip for the quindicesima ma.
C – Up Two Octaves
Note Identification - Quindicesima - ma - Raises the Notes Value You may be wondering why we perform the notes under the quindicesima at two octaves using the number 15 rather than 16. Here’s the short answer, since the octave note above the first  C is also a C note and it is the top note of the first octave it is also the bottom of the second octave. We cannot count it twice so we only count it once making for fifteen notes rather than sixteen. Secondly, instead of using va to designate its complete instruction we are using the ma designation.
C – Down Two Octaves
Note Identification - Quindicesima-mb - Down by 2 OctavesIn the above graphic, we have tied together two whole notes placed on the staff one octave higher than the first two examples and it is also a C note. Below the staff of the first two measures is the new symbol (in red again) for directing the performer to play the note two octaves lower than as notated. The consequence of this direction is to play the note at the location shown in the second two measures, two octaves below the notes staff placement.
Graphically, three differences exist that are similar to the ottava bassa where the first difference is where the quindicesima ma is placed above the staff and quindicesima mb is placed below the staff. The second difference is the direction of the vertical line as one points upward, quindicesima ma and the other is pointing downward for the quindicesima mb. Finally and somewhat redundantly, the designations of ma versus mb complete the differences between these two symbols. An audio sample is provided to assist you in expanding your internal awareness of the symbols.
Just as a reminder, these octave symbols, the ottava bassa and the quindicesima, do not alter the note name but they alter the frequency value by changing which octave the note is to be performed in.
Altering Note Names – Variations Using Accidentals
As one would guess it is not always that easy and variation and exception are often the “norms” within music, however, conventions rule the majority of the time.
Note names can be altered and in music notation there are some additional markings used to alter a given note’s name making it necessary to learn about the symbols that perform this function. This is especially true when learning about the various scales available to a composer and for constructing chords and chord progressions throughout the various musical keys used in music. The term used to describe the collection of note altering markings are called Accidentals.
Due to the nature of this series of articles we will be limiting most of this part of the presentation about accidentals to the five primary accidentals used in music notation.
Further, rather than explain two specific applications of their usage in this article we have included it within this series and it is called Accidental Applications.
Here we will be informing you about them by showing their respective symbols with a brief descriptive explanation of each symbol.
Accidentals
Accidental symbols are used to alter the notes name. The main accidentals used in music notation are; the natural, sharp, flat, double flat and the double sharp symbols. The accidental symbol is placed to the left of the applicable note shape. Below is a graphic of each of the three most commonly used accidentals found when reading notated music.
Immediately below each graphic is a short sound clip representing the sound of the natural note and the altered note. The first note of each sound clip is the natural C note followed by alternating notes, natural note, altered note ,natural note altered note, each reflecting the effect of the use of the designated accidental. There are five notes in each audio clip.
You can also compare two or more of the sound clips by playing each, either consecutively or varying from one to another so you can get an idea as to what affect each symbol has on the notes sound.
C Natural
Note Identification - Atering Notes - C Natural
C – Natural – Typically, a natural note is not designated by a specific symbol as was shown earlier in this article. There are cases when it is important to use the natural symbol, however this symbol does not alter its natural note value or the sound produced by any instrument playing it.
C Sharp
Note Identification - Altering Notes - Up one half stepC Sharp – The sharp symbol raises the natural C note by one half step altering its note name from C natural to a C# or C sharp. It is important for you to remember that the notes value is raised only by one half step.
C Flat
Note Identification - Accidentals - Altering Notes - Down a half stepC Flat – The flat symbol lowers the natural C note by one half step altering its note name from C natural to a Cb or C flat. It is important for you to remember that the notes value is lowered only by one half step.
Two More Accidentals
Other symbols are used to alter the natural notes more than one half step. The next two accidentals are also important to know and both are used in music notation as well. These are shown below; the double sharp and the double flat.
C Double Sharp
Note Identification - Note Altering - Up Two Half StepsC Double Sharp – Raises the C note by two half steps, or one whole step consequently, a natural C note raised by two half steps would use the symbol shown above,  Cx or double sharp and in this case, the note would sound the same as a natural D note.
C Double Flat
Note Identification - Altering Notes - Lower Two Half StepsD Double Flat – Lowers the C note by two half steps. There is only one half step between the B and C notes. We need two half steps to get to the sounding pitch designated by this symbol so instead of a B note we are required to go one half step lower to the B flat note.
It is important to know and understand that all symbols used in music notation provide specific instructions from the composer to the conductor, performers and those who enjoy reading music. These instructions are primarily designed to direct the performer to play in a certain way or to play a certain note different from the natural note as in the case of those notes marked with the accidental symbols.
Conclusion of Part 11
This concludes part eleven of The Tonal System – Scales in Music. Note identification is an important aspect of the foundation of music notation. It is necessary to gain the understanding of these tools and concepts. Current and future articles will touch upon the majority of the concepts in music theory. We will be discussing the musical rest in Part 12 of this article series.
When thinking about learning, I believe the brain learns fast. One simple concept can be built upon incrementally or in a manner so as to make the more advanced concepts “fit” into a much bigger picture. This helps a student to learn the value and importance of the advanced concepts in a basic sense and at the same time opens the channel within their thinking about them.
Lastly, we strongly suggest that you continue your study of note identification by reviewing our article titled “The Musical Note” as it covers additional features of note shapes, noteheads, note flags, tying them together and additional material to complete your study of them.

Chord Progressions |Guitar Classes Koramangala | Guitar Classes Bangalore


Guitar Habits To Make You a Better Guitarist |Guitar Classes Koramangala

Like the headline says, here are seven habits — habits you'll need to get into — that will, simply put, make you a better guitarist.
01. Visualize: You don’t just have to practice when there’s a guitar in your hands. There’s plenty of time in the day being wasted that you can use to improve your playing. Whenever you have a spare few seconds to daydream or are zoning out in class or at a meeting or waiting in line at the DMV, etc., use the time to go inside your mind’s eye and ears and visualize yourself perfectly executing the lick, riff or song you’ve been working on.
See and hear yourself playing the part with an expert ease, gliding as one with the strings, “virtually” feeling your fingers and your pick in precise synchronization. Repeat this whenever you can and you’ll find you’re better than you were before the last time you picked up the guitar and that the experience of the real guitar in your hands is enriched for the process.
An added bonus of this is that when you get better at connecting the disparate experiences of the imagined and the real, you’ll find that the accuracy of translating what you hear in your head through your fingers to the fretboard will significantly improve, as will your ability to transcribe things you hear while away from your guitar (if nothing else, you’ll be floored at how realistic your air guitar playing will be!).
02. Learn Something New Every Day: This is one of the easiest things you can do to enrich your guitar playing, musicianship and, most importantly, your discipline and motivation. Simply put, find one guitar-related thing a day that you didn’t know already and learn it. And play it. It can be a riff, a lick, a chord, a scale, an exercise, a song, a melody, an altered tuning, a strum pattern, the part of a song you know all of the cool riffs of but never bothered to learn the “boring” connecting transition sections of, whatever.
The discipline of seeking out, playing and internalizing a new piece of guitar knowledge on a daily basis will feed your subconscious musical instincts, add new concepts to your muscle memory and ultimately aid in your ability to express yourself and perform effortlessly on the guitar.
Make this a part of your day and you’ll find that as you continue on your journey, one thing will become two, then three, and on and on until you are devouring as much as you can absorb on the guitar, every day!
03. Jam! While it’s awesome to have perfected that ripping 128th note shredfest in your bedroom or basement, perhaps the most important thing for a guitarist to do is to play along with or to some sort of accompaniment.
Obviously, playing with another live musician or group of musicians in the same room is the perfect situation (And you should put yourself in those situations as often as possible), but there are many alternatives that can be just as beneficial. Today we have innumerable options, such as virtual backing bands and tracks through the Internet, computer programs such as EZ Drummer (highly recommended for its ease of use and versatility) or Garageband loops, plus apps on our phones that can act as stable backdrops against which we can hone our performance skills.
Playing with accompaniment such as this will greatly improve your consistency, your endurance, your improvisational ability and your feel for locking into a groove.
As another fun and educational option, jam along with your favorite songs. You can play along with the song note-for-note as written and improve your chops by executing the nuances and fitting in seamlessly with the rhythm, or you can use the track as a launch pad for exercising your improvisational muscles and integrating the licks you have been practicing. Play along with songs outside of your comfort zone of style or technicality to gain further benefits from this. Jamming along with TV, commercials or movie soundtracks while you’re relaxing with a guitar in your hands can be fun and rewarding.
04. Record Yourself: There is no better way to see your guitar playing objectively and to motivate yourself to work to become a better player than to record yourself. There are countless affordable media for recording yourself on your own, and when you record, you can listen to yourself with fresh ears and hear the things you like and dislike about your playing. You’ll find it’s infinitely easier to pinpoint your strengths and weaknesses and focus your practice accordingly.
Record yourself playing rhythm and then record other complimentary parts such as leads, melodies, counterpoints and complimentary alternate rhythms and you’ll learn about composition, production and ensemble performance. When you begin to focus on these complimentary parts, you’ll find that your vision and scope expands, as do your goals, and as you work to create complete songs, your abilities grow exponentially while you work to write and perform to the best of your ability.
The other benefit of recording yourself is that you will consistently maintain a record of your growth as a player. The journey of a guitarist is always (or should be) one of constant growth, and recording yourself is an awesome way to measure how far you have come.
Take Lessons: As a guitar instructor by trade, I am clearly biased, but the most obvious and productive thing any guitarist can do to improve their playing is to take lessons. While there is an ever-expanding universe of Internet resources, books, instructional videos, etc., available, nothing can compare to the one-on-one interaction with the expertise of a skilled guitar teacher. A teacher will identify your strengths and weaknesses, sharpening your skills and eliminating your flaws. A good teacher also will help you save time in your development by helping you sift through all of the information out there and lead you on the right path toward quickly realizing your goals as a guitarist.
Guitar teachers get paid to make you better, and spending the money will make you take your study seriously. Every story of a “self taught” guitarist still involves some part where they learned a lot from someone they knew who was more proficient and knowledgeable than them who helped shape their development, and even the extremely educated and virtuosic Randy Rhoads (who was a guitar teacher himself) was known to seek out guitar teachers whenever he had available time while making history touring and recording with Ozzy Osbourne, so break out of your rut, accelerate the evolution of your playing to the next level and get some lessons!
06. Focus your practice time: We’ve all heard stories of guitarists with marathon 12-hour or daily three-hour practice sessions, but for most guitarists, a tight, focused 10 to 30 minutes of consistent daily practice will prove more efficient. There is a difference in “practice” and “playing” time, and oftentimes the two get confused.
Practice should involve (after warming up) maintenance exercises to keep up your chops and emphasize your strengths, and focused work on specific goals that deal with integrating new knowledge and technique. Keeping the time spent on practice to an intelligent minimum, breaking up the topics to be addressed into small chunks, will help avoid wasted effort and will leave time to play.
In an ideal world, we’d all have three to six or more solid hours each day to spend with a guitar in hand, but for most of you reading this, the time you have available is substantially less. Oftentimes, setting out to practice for an extended period of time becomes a chore for some, and then the practice gets put off if something else comes up. Planning for at least 10 minutes of consistent daily practice time isn’t much of a chore for anyone, and if you get into the habit, you’ll find that you find ways to make more time to practice more.
Break up your practice regimen into skill sets and techniques, practice them daily, and then use them more efficiently when you’re playing. Let a guitar teacher mentor you through the process of designing a suitable practice routine for your schedule, or do your best assessing yourself and create your own. They key is consistency and brief, yet physically and mentally intense sessions.
Twenty minutes every day of truly focused practice is tremendously more conducive to development than a two-hour session every once in a while. And if you keep up with a reasonable, steady schedule, you’ll find that those occasions when you have time for an all-day practice session are all the more fruitful for it.
More importantly, keeping a consistent, intense practice regimen will leave all of your other free “guitar time” available for jamming, improvising, recording and experimenting, all of the while being able to do so with your skills at the highest possible level.
07. Track Your Progress The growth of any guitarist can be greatly improved by the simple awareness of the development of that growth. As you develop the discipline to be learning and practicing on a daily basis, it is extremely important to keep a log or diary of the process of your improvement in order to further maximize growth. The easiest way to do this is to keep a consistent log of your daily routine.
While this may seem a bit obsessive, you’ll find that keeping track of your daily practice will help you focus future practice sessions, maintain and continue awareness of steady progress, and also locate particularly fruitful practice phases in your past that can be replicated and upgraded when you feel your growth has stalled.

Guitar Coils and PickUp's |Guitar Class Koramangala |Guitar Classes Bangalore


The Difference Between Single Coils and Humbuckers.

General knowledge.
Pickups are essentially magnets. Your strings are made of magnetic metals; usually electric guitar strings have a steel core wrapped in nickel, or are just plain steel. Your pickup creates a magnetic field that when the strings move, disturb. This disturbance is transferred to an electrical signal by your pickup, effected by all your guitar's electronics and eventually reaches your amp and is turned into vibrations which you hear as your guitar.
Pickups get their magnetism from either a magnet attached to their base, or from magnetic pole pieces. Pole pieces are the metal cylinders that come out of the pickup under each string. The pole pieces are wrapped in magnetic wire (usually copper), which increases the strength of the magnetic field. One set of pole pieces wrapped in copper wire is called a coil of a pickup.
There are 3 main types of magnets used in passive pickups; Alnico II (2), Alnico V (5), and Ceramic.
Alnico II is the lowest output and the smoothest/warmest/bassiest of the 3 main magnet types. Alnico V is higher output than Alnico II and has more trebly/midrange bite than Alnico II. Ceramic is the highest output of all and the most trebly/biting. In general, Either Alnico II or Alnico V can sound good distorted or clean, but ceramic pickups generally produce a tone that isn't as pleasing clean, but somewhat preferred for heavy distortion.
Depending on the type of wire used to wind the pickup, it's thickness, how it was prepared and how old it is, the wire can affect the pickup's overall sound greatly. Companies generally do not list information about what wire type they use in order to keep their pickup formula somewhat guarded. In general, the more wire that is used will give you a greater output and a bassier tone.
As you may have noticed, if you pick closer to the bridge of your guitar, the sound you get will be quieter and more trebly than it would be if you picked closer to the neck. When pickups were first made, they didn't account for this and your bridge pickup would sound very quiet and trebly, while your neck pickup would sound very loud and bassy. Eventually, people began to realize that if you over-wound the bridge pickup, so that it became hotter and more bassy, and under-wound the neck pickup, so that it became quieter and more trebly, that you could create a greater balance between the pickups. In general, bridge pickups will still sound more trebly than neck pickups, but not in all cases.
So, now that you have some general knowledge, we can move on to the pickup divisions.
There are 2 main different pickup constructions, single coil and humbucker (2 coils). Single coils and humbuckers come in all different sizes and shapes.
Here are some various single coil pickups.
http://www.seymourduncan.com/website/images/sp90-1.jpg
http://www.seymourduncan.com/website/images/STL-1.jpg
http://www.seymourduncan.com/website/images/sld-1.jpg
http://www.seymourduncan.com/website/images/ssl-2.jpg
Here are some various humbuckers.
http://www.seymourduncan.com/website/images/SHR-1b.jpg
http://www.seymourduncan.com/website/images/ST59-1.jpg
http://www.seymourduncan.com/website/images/APH-1.jpg
Hopefully you know, visually, the difference between humbuckers and single coils now.
The first pickups created were single coils. Along with picking up signals from your strings, which they were supposed to, they also picked up stray radio frequencies (RF) which you would hear through your amp as an annoying buzzing sound. The orientation of this RF signal is related to which way the wire is wound around your pickup. Meaning that if you wind the pickup clockwise, the RF signal will travel in a different way then it would if you wound the pickup counter-clockwise. If you have 2 signals being used at once, where the RF signal is different in each, they will cancel each other out, or at least lessen their collective sound greatly.
This is why humbuckers were created.
Humbuckers are essentially 2 single coil pickups that share a large magnet at their base. Each coil of a humbucker is wrapped differently, so that the RF signals they create cancel each other out.
The only purpose in creating humbuckers was to "buck" the hum that single coils created.
However humbuckers did not, and do not, sound just like single coils without hum. Since a much larger magnet was used, and there were 2 coils of wire, the humbucker created a much louder signal.
There are many other differences between humbuckers and single coils. Some will say that humbuckers are only good for distortion and single coils only good for clean. This is only personal taste, and many people (There are too many people who use Gibson style guitars for clean to begin to list them) use guitars with humbuckers for playing clean. Also, guitarists such as Ritchie Blackmore (Deep Purple), Tony Iommi (Black Sabbath), Kirk Hammet (Metallica), both of Iron Maiden's guitarists and many others have used single coils for metal.
I could begin to describe the tonal differences of humbuckers and single coils to you, but it would be best if you went out and played alot of guitars and found them out for yourself. I could say single coils have more "quack" or "twang", but what you think of as quack may be different than what I think of, so it'd be best you come to your own conclusions.
These links have clips of many different pickups, use them to help you make decisions about pickups
www.toneninja.net
http://www.soundclick.com/pro/?BandID=112334
http://artists.iuma.com/IUMA/Bands/Forum_Music
http://seymourduncan.com/forum/forumdisplay.php?s=&daysprune=&forumid=5
The Difference Between Active and Passive Pickups
Pickups in general
http://mywebpages.comcast.net/skgs/sk/pickup_factors.htm
Go to that website for information about factors affecting how a pickup sounds.
Potentiometers are the technical names for your controls. The lower their value, the more high end they cut off. So a 500k pot will sound more trebly than a 250k pot, and a 100k pot will sound more trebly than a 25k pot.
Passive Pickups
Passive pickups were the first kind of pickups. They generate a signal which is powerful enough to drive an amp and loud enough to be used without any pre-amplification. They have many more winds of wire than active pickups and much stronger magnets. They are more prone (but won?t necessarily have) to having microphonic feedback. Microphonic feedback in your pickup is when there is too much vibration in the coils of your pickup and you get that annoying squealing sound, though some like it. Since passive pickups have more wire, there?s more of a chance of there being an error somewhere and something being microphonic. Also the stronger magnetic field increases chances of being microphonic as well. Passive pickups generally use potentiometer values of above 250, and sometimes don?t have potentiometers.
Active Pickups
Active pickups on their own are much weaker than passive pickups. They have a much weaker magnet and much fewer coil windings, which means their signal is very trebly and very low output on their own. They have built in pre-amps (which is what the battery is for), which brings their output level to one similar to, and in many cases greater than those of passive pickups. They use much lower value potentiometers because the signal is so trebly and a lot of the high end needs to be cut off to be usable. Active Pickups use pot values usually below 250k; anything too great will give a signal that is far too trebly and basically useless.
Each has their pros and cons. The main argument for passive pickups is that they sound more genuine and that you don?t have to change all your electronics to change between passive pickups, since most guitars use passive pickups to begin with. The main argument for active pickups is that they don?t have feedback, sound more hi-fi and the tone isn?t altered much with the volume controls. The main argument against passive pickups is that they're microphonic and pull too hard on the strings, reducing sustain. The main argument against active pickups is that they sound sterile.
Neither is by default better than the other, and plenty of artists in most any genre will use either type, though passive is more common.

More Details can be found @ the link here :Pickups

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