Displaying items by tag: Guitarist

“Hey man, I’m a guitar player…why would I want to think like a piano player?” Good question. It’s all about being more MUSICAL. What I am talking about is harmony. You can do a lot with different voicings.

When someone tells your average guitar player “play a G Chord”, you get something similar 90% of the time. You either get an open chord or “Cowboy Chord” as I call them, or you get a barre chord. Yes, they do pit the requirements of a G Chord. What they don’t do is provide anything new. Actually, there really isn’t much new much new out there, so going back to basic harmony works every time.

You don’t need to be a genius at music theory either. Knowing the notes up and down the neck is all that is required. Take the G Chord, one of the first chords you ever learn on the guitar. Look at the notes in that chord. I will jump to the chase for you, the notes are G, B and D. Anywhere you put these three notes on the neck of the guitar is a G Chord. This also means you can have any one of the three notes as the highest note of the chord. The highest note usually is the easiest to hear, so in effect you make a melody of the top voices of chords as they change.

Another thing to consider is that you only need three notes to make a chord. Your basic “Cowboy” or barre chord G has six notes, so obviously some notes are doubled. Yet another thing to consider is the two bottom strings are right in the frequency territory of the bass guitar. When you put emphasis on those strings it gets pretty heavy, which is the basis of most early Heavy guitar playing…...think Black Sabbath...the “Power Chord”. I can remember trying to figure out some of those songs like that and scratching my head. “Am I learning the bass or the guitar part?” It was hard to tell. I am not saying that sound is bad, but it can be very one dimensional.

The guitar is actually a small choir of sorts. Each string is not actually a string, it is a voice. You can arrange notes on the strings like a composer would arrange voices. Piano players do this too. You can think of the guitar as the right hand of the piano, the bass as the left hand. So, if you have one note on the bass and three on the guitar, you have four-part harmony. Interesting, huh?

I personally use the D, G and B strings on the guitar for a huge part of my chord voicings. Those three strings fall right about where the right hand naturally falls on the piano. Middle C is on all three strings. Also if you look, D, G and B are G, B and D rearranged so they are actually a G Chord…in case you didn’t already know that. Two of my favorite guitar players of all time used those three strings for a huge part of their harmonic vocabulary. The first one is Joe Walsh, the second one was the late Terry Kath. They never got in the bass player’s way. The result is very musical to my ears.

You can do so much with three notes. Try find the same notes to a chord in different places on the neck and pay attention to the note on top of the chord. What if the chord has more than three different notes? Well, for one the bass is covering one note. Also, you don’t always need to play every note to imply a harmony. This kinda gets into theory after a while, but the more you do things like this, the more you understand the theory behind harmony.

If you have any questions, drop me a line at This email address is being protected from spambots. You need JavaScript enabled to view it., I am glad to help. Enjoy this concept and I am working on learning how to use some software so I can show you visually some of these concepts. Peace and Love, RR.  

The more I play, the less I play. I think when you are a young player, it is natural to want to make a statement. The way many players do this is by playing a bunch of notes. “Look what I can do”, right? You run all over the neck showing off your skills. This is common practice for all musicians. It is not just guitar players that fall into this line of thinking. We just seem to reach maturity a bit later than others.

There are good reasons to play a lot of notes. It is good for rhythmic development. Your ear develops the ability to listen faster too hopefully. That is the idea anyway. If you are ever playing without listening, you are just exercising your fingers. Working your brain is much more satisfying.

You start by applying what you have learned by studying and by listening. Even if you are not formally educated in music, you still study patterns. This is often done subconsciously. Your mind chases these patterns around in your head in relation to how you find them on the fingerboard of the guitar. The idea is to know what something sounds like BEFORE you play it. The occasional accident is great. Sometimes you need to wake up your ear with new ideas.

I think after all this the ear searches for melody. Nothing satisfies your ear more. The shape of the sounds you produce should make you satisfied. You know when you nail the right lick. You just know it. You also know when you don’t. This is where the editing process kicks in. You also may remember what you didn’t like initially and decide to come back to it later.

You remember that game we played as kids. You have the cards face down and the idea is to match two cards. That is kinda how it works. You remember the sound you want and then you remember where to find it. Your memory gets better with age. Part of the reason you end up playing less is that you don’t keep picking up the wrong cards until you find the right one. Your memory serves you well in improvisation. Improvisation is not the same as ad lib. I have had an argument over the actual definition of the word improvisation. It is clear to me that the word “improve” is right in there. Often the improvement comes from playing less.

Chances are there are not many solos that you remember unless you can sing at least a portion of the melody. Even if you can’t sing, you can hear it in your head. Think of those classic solos that perk up your ear. The ones that actually resemble the phrasing of a voice and not an instrument. Those are the ones that you don’t even need to be a musician to appreciate. Try to do that. Make what you play speak to the listener. After a while of listening to someone ramble on, the mind tunes out and stops paying attention. You can captivate with much less information. Simple statements hit harder. Try it. Less is truly more.

I started playing guitar at age eleven, but I started my first band at fifteen playing drums. The reason why I stuck with guitar is songwriting. I wanted to write songs. The guitar is a good, self-contained unit, a perfect vehicle for writing.

Singer/songwriters tend to either be piano players or guitar players. Think about this a minute. How many instruments are there that you can play and sing at the same time? How many instruments are polyphonic? You can create anything from a simple song to relatively complex arrangements on the guitar.

The form of the song is a good place to start. There are forms like the Blues that are essentially loops. It is a twelve-bar form. The same harmonic structure is repeated throughout the song. The song also usually does no form of key modulation.

The standard song form for years was thirty-two bars. This is usually an AABA form. That means an eight-bar section (A), followed by a very similar section (A again), a contrasting section (B) and returns to where it started (A once more). A lot of standards are in the AABA form. The whole form is often repeated.

There are also strophic songs which are like poems which can have several repeated verses. You can also have verse, chorus, repeat. These can also have a bridge which may be referred to as B.

None of this means that you have to stick with a basic form to write a song, there are no rules. This just gives you a jumping off point. Once bands started writing their own material more often, things started to change. A lot of those players were not educated in the same manner as songwriters of old. They wrote by feel in many ways.

Another thing to consider is a song can be sectional or in movements. That can almost be like a series of different forms. For example, you could have three different AABA sections in a row and that can be your song. In Classical music there are forms that essentially assemble smaller forms like that. ABACA is called rondo form. Each section is a small composition itself. A lot of musicians don’t pay enough attention to form.

So, break out your guitar and some paper and try writing a song. You can make it anything from a Pop song to a work involving many movements. The choice is yours. You can keep the song in your head, but writing it down makes it easier to communicate your ideas to other musicians. This can be in standard notation or simple maps to show the form. Have fun and get creative!

Everybody has a favorite guitar player…well, almost everyone. We have those licks we learned from our favorites. That’s how we get a vocabulary of ideas. For me, I have gone through phases. I played along with recordings of people like Stevie Ray Vaughan and The Allman Brothers Band. That gave me a good foundation in lead guitar.

The only problem with this scenario is you only end up stealing ideas from other guitar players. Since we play with our fingers, we fall into convenient patterns that fall nicely on the fingerboard of the guitar neck. You end up playing via muscle memory a lot of the time. This becomes almost like a reflex to spew your favorite licks out again and again. You end up repeating yourself.

Lately, I have been listening to a lot of Jazz. However, I have not been listening to that much in the form of Jazz guitar. What or should I say who have I been listening to? Horn players for one. They play melodies. Guitar players do too, but again we fall into patterns. A lot of these are the same ideas recycled. The other issue is most guitar players have no formal music education.

Most guitar players don’t read a note. They learn from their friends, videos and magazines. Some take lessons but even that has limitations if the teacher is essentially uneducated. Horn players know how to read for the most part. They struggle through beginning clarinet books starting sometime in grade school. Those books are written by people who understand music. Horn players learn intelligent musical phrases, so they play intelligent musical phrases.

Another instrument to listen to is piano. The average piano player has a chord vocabulary that exceeds most really good guitar players. They understand harmony. Unless, you go past the basic chords on the guitar, there are limitations. Part of this also is due to the tuning of the guitar. Some voicings are extremely difficult on the fingerboard. Having said that, you can still learn how to play hipper chords than you find in the guitar books some of us started out with.

Drummers can point you in another direction regarding rhythm. Most us can’t even count bar lines, myself included sometimes. This is important! Where is one? If you don’t know, learn!!! All playing music actually requires is the right notes at the right time. That’s it! Rhythm is 50% of that equation, and at times even more. You can actually get a lot of cool rhythmic ideas from piano players too.

Now, this sounds like I am bashing my favorite instrument and its players. I am not! I am simply stating facts here. Listening to other instruments just might help you find your voice on the guitar. Another concept to explore is actually playing another instrument. Drop me a line if you like, This email address is being protected from spambots. You need JavaScript enabled to view it.. Until next month, ciao.  

Music Theory is often a touchy subject in the guitar world. A high percentage of players will tell you it isn’t necessary. I am one of those who clearly disagree with this philosophy. The more you know about music, the better. If all you do is learn a song, you mic the analytical process which helps you digest the music a whole lot better.

The first thing to understand is harmony. Some people will say scales. They are really both the same actually. Scales are merely the link of notes that are related harmonically. A scale is just a harmony. That’s where studying the circle of fifths comes in really handy. There are twelve notes which gives you twelve keys. That means there are twelve points that can be considered the root of the harmonic structure. Key and scale are almost interchangeable. Think of key as a set of notes that can be called upon within a certain harmonic framework. The scale just puts them in ascending and descending order.

Harmony is what explains how scales and chords are connected. The note that the key is named for is the center of activity. The whole thing is based on a pattern discovered by Pythagoras. It is all mathematics. The way frequencies are related. Frequency is the speed at which the air is moved through vibration. That is why some notes sound better than others when played together. Actually, that is subjective but there are harmonies that are considered more pleasant than others. When Pythagoras figured this out the notes were not equally spaced. Some keys were more dissonant than others. Later musicians developed the idea of equal temperament. That means that all twelve tones are the same distance apart. There is not hierarchy. This comes together clearly when you study the circle of fifth’s.

This may be a bit of a difficult concept to understand. Having said that, a little bit of knowledge goes along way. You don’t really need to understand the exact math to understand music. Knowing how keys relate is, in my opinion a must know piece of the musical puzzle. The nice thing is that theory applies to all instruments, not just the guitar. This helps with arranging songs for your band, writing, learning new material, etc. If you have any questions about this or have any other topics for future episodes of For the Guitarist drop me a line. My e-mail is This email address is being protected from spambots. You need JavaScript enabled to view it.. Thanks for reading and don’t be afraid to think while you play.

For the electric guitarist, there is a dilemma…tube amp or solid state. Both have advantages. Both have disadvantages. Opinions vary as much as people do. I have traditionally been a tube guy, but I will not bias this article one way or another.

The first amplifiers were tube amps. The vacuum tube provided the first way to make sound using electricity. Thomas Edison discovered that if you put two wires in a light bulb, one close to the filaments and one away, the speed of the electrons would increase as they flowed from a heat source. This phenomenon is called thermionic emission. People like Nikola Tesla stepped in and helped perfect this idea into what became the vacuum tube. Without this, where would Rock and Roll come from? Not just Rock, but every form of electric guitar known to man.

For decades, that was your only choice. Transistors were developed much later and were not the choice for amplifier builders for a while after that. It’s hard to imagine people like Eric Clapton and Jimi Hendrix without stacks of huge amplifiers containing tubes. They still rule the school for a lot of guitar players.

The sound is the reason you choose a guitar amplifier. Tube amps have a warm sound. They sound great when they distort. Solid state amps did not have that. They were kind of harsh sounding, at least at first. Technology has come a long way. Modern solid state amps sound much better. They are also more cost effective.

Tube amps require large transformers to supply high voltages and heat the tubes. This keeps the manufacturing cost a bit higher than solid state. They also weigh quite a bit more. Having said that, players still shlep tube amps to gigs. The sound is very important.

Solid state amps sound better and better all the time now. They are also getting more and more efficient. Size is another nice consideration. There are now guitar amp heads that literally weigh two pounds and are the size of a guitar pedal. You know what? They sound pretty good too. Even an old tube amp geezer like me was impressed. I have one on my shopping list as we speak.

I will never be without at least one tube amplifier, but I see the light at the end of the tunnel concerning solid state. The technology is getting amazing. There are room for both schools of thought. Just as guitar players have more than one guitar, most have more than one amp. The best thing to do is listen and make your own decision. Keep an open mind….and…especially open ears.

Welcome to “For the Guitarist.” I am Ron Reis. I have been playing guitar for around forty years, studying theory for over thirty and teaching on and off for over twenty. This column/blog is aimed at all things related to our six-string friend. My guitars have been the best therapists I have ever had. When I need to calm my “monkey brain,” the best thing I can do is pick up my guitar.

Many people underestimate the meditative power of music. As a performer, you get lost in the music. As a listener, you are drawn into someone else’s thoughts and ideas. If you combine the two, you enter a state of nirvana. Music is one of the highest forms of communication. Real musicians do not play together. They carry on a conversation. They bounce ideas off each other’s heads. The audience gets to listen in on this exchange of sonic imaginations. I have even witnessed the two forces interact.

I saw The Grateful Dead in 1988. The last song they played in the second set was a Buddy Holly song, Not Fade Away. The beat was stolen from Bo Diddley. Bop, Bop, Bop...Bop-Bop. The crowd assumed the rhythm of the song. The band left the stage…the crowd kept the beat going for what seemed like five minutes…singing the chorus over and over. I was absolutely amazed. This was communication…real…honest…communication.

Not every musical situation gets this accomplished at that high a level. There should always be a mutual exchange. Both entities give the other what they need. How does this relate to playing the guitar? Well, it seems to me that should be the ultimate goal. Becoming successful on a financial level playing music is a wonderful idea. Having said that, most of the people that actually do are “performers” and not always “musicians.” There is a huge difference.

My goal with “For The Guitarist” is to help point the way. I do not claim to know everything on the subject. The idea is to assist in a somewhat guiding way, while learning for myself as well. I will discuss topics from theory to equipment and everything in between. I am also open to suggestions on topics for future articles. Anyone who likes can contact me at This email address is being protected from spambots. You need JavaScript enabled to view it. to drop me a line or two. I am serious about this, but let’s have a little fun too…the more fun the better!

The summer concert season continues at Ravinia. Midsummer brings to the Midwest one of the toughest guitarists on the planet. The act that has graced the stages with the most famous performers at Woodstock has come to Ravinia in Highland Park for yet another incredible performance. The oldest outdoor venue in America was the setting for two sold out nights. Santana graced the stage and, by night’s end, everyone was completely blown away.

A zero-humidity night with slight breezes made for the perfect setting for an outdoor concert. People from all walks of life entered the manicured grounds at Ravinia for the one band show. Dressed to impress, concert goers were seen dancing salsa-style to the rhythmic sounds of a Latin influenced band. It was just amazing.

Opening the night with “O Paradiso” was a great way to start the evening. The mood had been set. The smooth guitars over the Latin percussion made feet move and caused hips to shake throughout the entire evening. Carlos Santana had taken charge and he wasn’t leaving without impressing each soul that watched and listened to his band in awe.

“Are You Ready” kept the musical train rolling. As the crowd clapped their hands and stomped their feet, the music clearly ran deep into each fan. The music was not only being heard, it was being felt. Ray Greene was the vocalist. Greene took the songs and presenting them with his incredible voice that sounded as if it was handed down from the heavens.

The night kept going with “Love Makes the World Go ‘Round”. This Deon Jackson cover was a perfect selection for the evening. The opening guitar riffs combined with the vibra-slap kept the audience’s attention and the adrenaline levels high.

“Maria Maria”, “Foo Foo” and “Corazon Espinado” were amongst the next selections played. The grace and style of the band that was on stage was incredible. The rhythm section was spot on never missing a beat. The combination of an incredible bass player (Benny Reitveld), drummer (Cindy Blackman Santana), and Latin percussionist (Karl Perazzo and Paoli Mejias) were the underlayment for a fantastic evening. Carlos held notes so long that it seemed like they would never end and no one wanted them too. He followed up with fast-paced guitar runs and had a sweet guitar tone from his Paul Reed Smith.

“Jingo” helped to keep people moving to the music. Many attendees couldn’t stop dancing in the lawn and pavilion. It was so powerful you could feel it in the ground. The band was so on fire that nothing could stop it.

When “Evil Ways” began the place went wild. A young lady started grinning from ear to ear as she began to dance. Within the first few seconds the joy went right to her face as she proclaimed, “That’s my song!” David K. Matthews was filling all the gaps from behind his keyboards. His Hammond organ was pumping throughout the evening as he screamed on the keys.
The night was also filled with songs that other songwriters wrote. “Higher Ground” by Stevie Wonder and “Troubled Man” by Marvin Gaye were superb choices for this band to tackle. The music was so packed with energy and the sound was clean.

A highlight for the night was “Mona Lisa”. The melody within the guitar was nothing less than ear candy that dripped from Carlos’ strings. The canvas was being painted for the vocalist to sing about an amazing woman worthy of her own song. Latin music was in the air and young lovers were moving to the groove. Tommy Anthony was the backup guitarist and held his own.
A Santana show would not be complete without the Tito Puente song, “Oye Como Va”. The crowd was at their feet singing with every note. There couldn’t be a better way to say, “How’s it going?” The song ended and the band exited the stage for a short period, but they weren’t done yet.

The crowd cheered, clapped their hands, and stomped their feet to bring out an incredible guitarist once more. There was no way he could leave yet. After a few minutes, the video screens started showing clips of people sliding in the mud from the 1969 concert Woodstock. The drums kicked in to begin “Soul Sacrifice”. The tribal rhythm was just the start of the encore.
His wife, Cindy, was a powerhouse drummer. Her work was a driving force and during her solo she proved she could lock horns with anyone else behind a kit. When the song finished Carlos gave props to her amazing ability stating, “That’s the sound of a woman kicking a man’s ass. Spiritually speaking.”

“Smooth”, “Love, Peace, & Happiness” and “The Highest Good” finished out the evening. The lights came on and people started making their way out of the concert venue even though nobody wanted to leave yet. People continued to cheer and sing. The crowd was nearly delirious from an evening of musical greatness and fun.

Highland Park’s Ravinia is the place to be in the summer months. The acts that grace their stages have been superior to a lot of other venues. Musical acts are a dime a dozen, but great bands like Santana really rise to the top in talent. They provide the music to which people love to dance. They put a smile on your face. In short, Santana is a super group on every level.