Transcript
G U I T A R
HANDBOOK VOL 1
3
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FROM THE ONLINE COURSE GUITAR SCALES 101
by LARRY BAIONE
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by RICK PECKHAM
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Guitar Scale Basics”
Playing and Understanding Triads”
FROM THE ONLINE COURSE GUITAR CHORDS 101 Guitar Gear Primer”
FROM THE ONLINE COURSE GETTING YOUR GUITAR SOUND
by DAN BOWDEN
Strumming Techniques”
FROM THE ONLINE COURSE ACOUSTIC GUITAR TECHNIQUES
by ABIGAIL ARONSON ZOCHER
Basic Blues Forms”
FROM THE ONLINE COURSE BLUES GUITAR
by MICHAEL WILLIAMS
GUITAR SCALE BASICS
FROM THE ONLINE COURSE GUITAR SCALES 101
BY LARRY BAIONE Larry Baione is Chair of the Berklee College of Music Guitar Department. Baione has been a faculty member since 1974 and has been Chair since 1990. He has studied with Lenzy Wallace, Mick Goodrick, Bill Harris, William Leavitt, Bucky Pizzarelli and Jim Hall. He received his Bachelors in Music from Berklee and his Masters in Music from New England Conservatory. While attending Berklee, he received the Downbeat Hall of Fame Scholarship award.
Scale study is fundamental to guitar
The word “step” refers to the distance
mastery, no matter what style you play.
between notes. On the fingerboard, a half
Learning scales benefits our technique and
step is equal to the distance of one fret, and
our knowledge and navigation on the in-
a whole step is the distance of two frets. A
strument. It helps us organize that ambigu-
whole step is made up of two half steps.
ous guitar fretboard. Anyone can easily see
The major scale begins with the start-
the C major scale on the piano, but it is a
ing note (the name of the major scale) and
different story on the guitar. Simply stated,
follows this pattern of both whole steps
scale study gives us knowledge of the fret-
(W) and half steps (H): WWH WWWH. For
board and develops our technique.
example, the C major scale starts on the
Learning scales helps us to prepare to
note C, and can be built using this pattern
play tonal music. Most music we hear (and
of whole and half steps.
perform) has tonal centers (keys). The key
You can play a major scale from any
of a piece of music is derived from the scale
note by using the WWH WWWH formula.
from which the melody and harmony are
Remember, one fret on the guitar is a half
derived.
step, and two frets is a whole step. So, if you
Let’s start by looking at the major scale.
start on the first string and play the note on
A major scale is a succession of notes con-
the first fret (the note F) and move up on the
sisting of a pattern of half and whole steps
same string two frets for every whole step
that create that familiar sound of “Do Re Mi
and one fret for every half step, you will have
Fa Sol La Ti Do.”
played the F major scale up the fingerboard.
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F Major Scale on the 6th String
You can start on any note and move up
guitar. The one-octave major scale takes
the fingerboard on the same string (as long
twelve frets to play. This is just one way
as you do not start too high up the neck)
to play a scale. We can play a major scale
and play a major scale by using this “step
more efficiently by using more than one
method.” You may not know the names of
string. To play a scale within a smaller
the notes of the major scales (we will start
area of frets, you can play across a num-
that next), but try playing a major scale up
ber of strings.
and back down starting on any note.
Here is the C scale starting on the fifth
You just played the major scale up the
string, third fret, ending on the second
fingerboard, on one string. You may no-
string, first fret. Notice the small area of the
tice that it takes up a lot of area on the
fingerboard that is used.
C Major Scale (Open Position)
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You are playing in first position on the
is where your first finger plays everything in
fingerboard. This brings us to a very impor-
the second fret.
tant concept: positions on the guitar.
Pat yourself on the back as you have al-
What is a position? A position is defined
ready played the C Major Scale in first (open)
as the fret in which your first finger plays.
position! However, learning to play scales in all
First position is where your first finger plays
of these positions, in addition to the first posi-
everything in the first fret. Second position
tion, is crucial to advancing as a guitar player.
First Position
Fifth Position
Second Position
Seventh Position
LARRY BAIONE’S ONLINE COURSE
GUITAR SCALES 101 Guitar Scales 101 will help you to organize the often-ambiguous guitar fretboard, and provide you with the knowledge to confidently navigate the instrument and develop your technique. The course begins by looking at the major and pentatonic scales, and how these scales work at different points up the neck. You’ll then learn to construct and play blues, Dorian, and Mixolydian scales in all keys, and apply these scales to performance-based weekly musical examples and practice exercises. In addition, you will be studying the harmonic minor and melodic minor scales and modes.
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PLAYING AND UNDERSTANDING TRIADS FROM THE ONLINE COURSE GUITAR CHORDS 101 BY RICK PECKHAM Rick Peckham is an internationally known jazz guitarist, clinician, composer, and writer. He has performed with George Garzone, Jerry Bergonzi, Mike Gibbs, and Dave Liebman, and recorded the album Stray Dog (ropeadope.com) as a member of the notorious jazz collective Um, led by trombonist Hal Crook and occasionally featuring organist John Medeski. His most recent recording Left End—a set of original compositions mixed with collective improvisations— was recorded with drummer Jim Black and bassist Tony Scherr. In addition to extensive work in the U.S., he has led or played on tours in Ireland, Canada, Spain, and Germany.
The longer I’ve played the guitar, the
Triads are three-note chords. They are
more it’s become clear that chordal playing
built upwards in intervals of thirds from a
and melodic playing on the guitar amount
fundamental note, called a root, which is like
to two sides of the same coin. The more
the tonic of a scale. The major triad includes
time I’ve spent working with chords—all of
the tonic, third, and fifth of the major scale
the variations and possibilities—the easier it
built on the triad’s root.
has become to look down at the fretboard
Each of these notes is described by a
while playing and see more options. A clear
number corresponding to its scale degree
understanding of chordal shapes on the
(or interval) away from the root: 1, 3, 5.
guitar leads to a thorough understanding of
These numbers are referred to as “func-
the instrument.
tions,” as in “E functions as the third of a C
A chord is a set of three or more notes
major triad.”
played simultaneously. If the notes are played
Play the following C major scale, triad,
one after the other, it is called an arpeggio.
and arpeggio now.
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Triads serve as a foundation for a basic
Chord Block Graphic of C major triad in eighth position
understanding of harmony. The C major triad is spelled C-E-G. In the key of C, notes 1, 3, and 5 of the C major scale provide you with the notes of the C major triad. Another way to think of triads is in terms of intervals. From the root, the major triad has a major third and a perfect fifth. It can also be seen as a major third (C to E) underneath a minor third (E to G). Chord Block Graphic of C major triad in third position
In contemporary, jazz, and popular music, chords frequently move in intervals of a fourth up (or a fifth down). If we move from chord to chord by intervals of a fourth, we arrive at what is called the cycle of fourths, also known as “cycle 4,” shown on the page that follows. A cycle is defined as a series of events that recur regularly and usually lead back to the starting point. If you start at any note and continue around the wheel to the note that is
On the second set of three strings, and
up by a fourth, you will eventually end up
2-3-4, the major third interval has the upper
back at the same note. In so doing, you will
note one fret below, and the minor third be-
have covered all twelve notes in the chro-
tween 2-3 has the same visual spacing.
matic scale, without repetition.
SUGGESTIONS FOR PRACTICE To get used to the sound of the major triad, try playing major triads up the fretboard, one fret at a time, on the top string set 1-2-3. While difficult to execute on most musical instruments, moving up one fret at a time, also called “in half-steps,” on the guitar neck is one of the easiest ways to accustom yourself to a voicing shape. Play major triads in all twelve keys, moving up the fretboard one fret at a time, in half steps on the first set of three strings.
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Cycle of Fourths
This serves as a useful reference to allow
set of key relationships will help prepare you
you to take anything through all twelve keys.
to play the countless songs whose chords
Although not as intuitive as half-step mo-
move in intervals of fourths, including thou-
tion on the guitar neck, knowledge of this
sands of blues, rock, r&b, and jazz tunes.
RICK PECKHAM’S ONLINE COURSES
GUITAR CHORDS 101 Guitar Chords 101 presents Berklee’s approach to the construction of chords, a method that focuses less on the shape of an individual chord, and more on the notes that the chord is based around. Students will learn to construct and play triads and basic 7th chords, as well as look at inversions and different chord voicings—the basic foundations guitarists use to write or perform in any number of different styles.
GUITAR CHORDS 201: CHORD MELODY AND INVERSIONS Guitar Chords 201 provides essential technical training that will improve your style, intonation, technique, time, feel, and tone. It starts where Guitar Chords 101 leaves off—with an in-depth exploration into the construction of open triads, seventh chord structures, and inversions of complex chord forms. You’ll move on to learn popular fingerstyle patterns, alternate tuning options, major and minor bebop scales, and voice-leading through chord scales.
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GUITAR GEAR PRIMER
FROM THE ONLINE COURSE GETTING YOUR GUITAR SOUND
BY DAN BOWDEN Dan Bowden is an unusually versatile guitarist and teacher, specializing in a wide range of styles including rock, jazz, blues, and r&b. With over a dozen instructional books for the guitar to his credit, Dan has reached guitar students worldwide.
Because electric guitars come in many
be unnoticeable when viewed without mag-
shapes and sizes and are constructed of
nification. But the flaw can become gar-
varying kinds of woods and electronics,
gantuan when the image is enlarged. The
it’s important to be aware of the individual components, how they are constructed, and how, along with the unquantifiable elements (or “mojo”), they determine a guitar’s sound. The qualities we associate with great electric guitar tone always begin
same is true when
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TRY OUT A PROSPECTIVE PURCHASE “UNPLUGGED” FIRST TO SEE HOW IT SOUNDS AND RESONATES AGAINST YOUR BODY. THEN PLACE YOUR EAR AGAINST THE BODY AND LISTEN AS YOU PLAY. THE SUSTAIN, WARMTH, RESONANCE, AND FULLNESS YOU WANT SHOULD BE APPARENT BEFORE YOU PLUG IT IN.
”
with the guitar itself.
a guitar is amplified. A tiny sound that is barely audible when
unplugged
is exposed through amplification,
mi-
crophone technique, and sound reinforcement. A guitar that sounds bad acoustically will sound even worse when amplified, so always make
Even with solid body electrics, the final am-
the acoustic sound of an electric guitar an
plified and effect-processed tone we hear
important consideration!
originates with the acoustic sound of the
The type and quality of body, neck, and
guitar. A flaw on a photographic slide may
fingerboard woods are critical to defining
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a guitar’s inherent sound. The weight and
overall mass of a guitar can absorb or reso-
appearance of the wood are also impor-
nate in a particular range of frequencies,
tant factors. In general, dense, heavy woods
the quality, type, and even the individual
such as mahogany yield the most warmth
cut of the wood are huge factors in shap-
and natural sustain. Lighter woods such as
ing tone character. This also means that two
alder tend to sound brighter and livelier, and
guitars of the same model and vintage may
are more “friendly” to the back. Because the
not sound equally as good!
Common woods used in the construction of electric guitars Wood
Tone Quality
Guitar
Alder
Full tone, with an emphasized lower midrange, for the classic Fender Stratocaster sound.
Fender Stratocaster
Ash
Bright, punctuated treble and strong low notes typical of Telecasters and the earliest Strats.
Fender Telecaster
Mahogany
Rich, warm resonant tones and the long sustain that Gibson solid bodies are known for.
Gibson SG
Maple
A hardwood with a bright, sustaining tone. Used for Fender-style necks and Godin bodies. A piece of carved maple forms the top piece of Les Paul bodies, adding brilliance while retaining the warmth of the mahogany.
Gibson Les Paul Maple Top on Mahogany
Basswood
Softwood has a pronounced midrange for singing modern rock soloing. The Ibanez Joe Satriani series of guitars are constructed with basswood bodies.
Ibanez Joe Satriani Signature Model
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Fingerboard description Wood
Description
Image
Ebony
A heavy, hardwood that produces a clear, sharp attack and fast decay.
Rosewood
Warm and sweet sounding with a softer attack.
Maple
With solid maple necks, the fingerboard is the top surface of the neck. These yield a bright, clear and balanced tone with a less pronounced attack and slower decay than ebony fingerboards.
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ATTACHMENT OF NECK TO BODY
Bolt-On Necks
How the neck is joined to the body of a guitar also affects its overall sound. Most guitar necks are either bolted onto, or glued into, a cavity in the body.
Glued-In Neck
Bolt-on necks are the most common and least expensive means of attachment. The “Fender” guitar sound is partially due to the bolt-on neck. And with a bolt-on, it’s possible to swap one neck for another to change the sound and feel of a guitar. For example, a bright, snappy-sounding solid
The heels of Gibson style necks
maple neck could be exchanged with
are glued into the neck cavity and are
maple neck with a warm-sounding
thought to have a tighter fit, contrib-
rosewood fingerboard.
uting to sustain. Many guitar makers offer guitars with both styles of neck attachment.
Neck Through Body Some necks run all the way through to the strap button with body sidepieces attached on each side. The Gibson Firebird and the Jackson Soloist both have “neck through body” construction and are well-known for the sustain capabilities.
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NUT MATERIAL
There is no substitute for long hours of practice on the guitar. However, under-
String vibrations are transferred by the
standing how a guitar’s individual compo-
nut to the guitar neck. Due to its hardness,
nents and overall construction determine its
bone is preferable over factory installed
sound characteristics is an essential part of
plastic nuts. Graphite nuts are more slip-
getting the sound in your head to come out
pery, allowing the strings to slide through
of your guitar.
with ease. They are a popular choice for tremolo arm enthusiasts!
Consider the electric guitar you play most often. What songs, sounds, and styles do you think it’s most or least suited for? How do the following factors contribute to its strengths? • body wood • neck and fingerboard woods • neck attachment • other significant non-electronic components
DAN BOWDEN’S ONLINE COURSES
ACOUSTIC BLUES GUITAR Acoustic Blues Guitar is geared towards students with pick-style electric and acoustic guitar backgrounds and offers a structured and comprehensive entrance into the world of fingerstyle and bottleneck acoustic blues guitar. The goal of the course is for students to develop a foundational, working repertoire in the acoustic blues style that includes early and contemporary material from the Mississippi Delta, Texas, Georgia/Carolinas, and more. You will learn to fingerpick melodies and solos over independent bass patterns, and perform in the acoustic bottleneck slide style in standard and open tunings. These techniques will provide a strong platform for pursuing folk, pop/rock, country, and other fingerpicking guitar styles.
GETTING YOUR GUITAR SOUND In Getting Your Guitar Sound, you’ll examine how a guitar’s individual components and overall construction determine its sound characteristics, so you can maximize the strengths as well as work around the limitations of any particular instrument. You’ll learn about amplifiers, speakers and cabinets, and gain expertise using the amazing modeling software, AmpliTube 3. By working closely with individual amp models (including emulations of Fender, Marshall and Mesa), as well an array of virtual stompbox and rack effects, you’ll learn to configure the right setups and to properly work the controls to get the tones you’ll need for class projects, as well as real-world performances.
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STRUMMING TECHNIQUES
FROM THE ONLINE COURSE ACOUSTIC GUITAR TECHNIQUES
BY ABIGAIL ARONSON ZOCHER Abigail Aronson Zocher is an associate professor in the Guitar department at Berklee College of Music, where she teaches the Joni Mitchell ensemble, classes in classical guitar performance, and lessons in singer/songwriter/guitar, jazz, and classical styles. She earned her bachelor’s degree in classical guitar performance from the New England Conservatory of Music, where she studied with David Leisner and received the G.W. Chadwick medal as the outstanding performer of her graduating class.
The word “strumming” has never been
sweeter and rounder. I tend to think of tasto
one of my favorite terms, and I hope some-
as not just “on” the fingerboard, but near
day someone can find me a better word.
to it.
For now however, it is the only term I can
Ponticello: Pont refers to the bridge
think of to describe this cloth from which
of the instrument, and playing ponticello
we create so much of our accompaniment
means that your right hand plays near the
texture.
bridge, giving a sharper, brighter, crisper
Within a strumming texture, there are
sound.
many possibilities. Tone, touch, dynamics,
Normale: Normale refers to playing in
register, weaving in melodic lines—all these
between the other two extremes, the place
variables offer ways to tailor our strumming
where most playing probably happens,
so it suits our creative intentions.
somewhere around the bridge-side edge
In clarifying our tone choices on guitar,
of the soundhole. If you think of it, electric
our classical kin again offer us some use-
players use a pickup selector switch for this.
ful pedagogical terms. You will find these
We can do it the old-fashioned way, moving
terms describe tone color on many string
our hand around.
instruments, not just guitar.
Also notice that as you strum, your path
Sul Tasto (or just “tasto”): Tasto refers
across the neck can be straight, or angled,
to the fingerboard of a stringed instrument.
for a different effect.
Playing sul tasto , or with your right hand
Say two different people are facing
over the fingerboard, makes your sound
you and each hands you a small box, but
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EXERCISE: TONE Spend a moment exploring the tone color areas of the guitar, strumming sul tasto, then normale, then ponticello. Listen for what your guitar gives you as a result of where you choose to position your right hand. Experiment with straight and angled strums.
in different ways. One thrusts his fist, with box clenched inside, quickly towards you. One offers up her cupped hand with box resting in palm. Along with the area (fingerboard, soundhole, bridge) you choose to play over, the touch of your finger or pick to the string will determine the sound you produce. Classical pieces usually have character markings at the beginning which, although they don’t
“
“WHEN I’M PLAYING THE GUITAR I HEAR IT AS AN ORCHESTRA: THE TOP THREE STRINGS BEING MY HORN SECTION, THE BOTTOM THREE BEING CELLO, VIOLA—THE BASS BEING INDICATED BUT NOT ROOTED YET.
”
—Joni Mitchell
specifically apply only to touch, can help determine it.
con fuoco (with fire), grazioso (easy, graceful), agitato (agitated), espressivo (expressive), and many more. The way you touch the strings—for example, moving slowly or quickly through them, lightly or heavily, easily or with tension—can determine the character of the sound you get. When you are playing a strumming texture through a song, dynamics can affect the texture in both horizontal and vertical dimensions.
At the top of a classical score
Horizontal thinking refers
you might see words like briskly, aggres-
to what happens before and after a given
sively, gently, vivace (lively), dolce (sweet),
musical event. Thinking horizontally, we
PLAYING DIFFERENT REGISTERS Using a repeating strumming groove of one or two chords of your choice, practice bringing out different string set registers.
1.
First, strum all the strings evenly, then bring out the bass register (lower strings).
2.
Then switch to the middle, then treble registers.
3.
Within each register, repeat until your tone, consistency, and balance between
the played strings, sound convincing to you.
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might consider how the given event com-
moment above and/or below. So, thinking
pares dynamically or texturally with what
vertically, the dynamics of your strum could
came before, or what comes after.
be analyzed as to how well they balance
Horizontally, as the song moves forward,
with a vocal line that is happening at the
the dynamics follow a line with peaks and
same time, or any other line that is happen-
valleys, low and high plateaus . . . like an EKG
ing, even one that is happening within the
of a heartbeat.
same guitar part.
Vertical thinking refers to what is hap-
Thinking vertically could also make us
pening at the same time as a given musical
consider how well we are balancing our
event. When thinking vertically, issues of
strum from low to high—are the low regis-
balance arise.
ters dominant? The mids? The highs?
Vertically, the dynamics within a strum relate to whatever is happening at the same
ABIGAIL ARONSON ZOCHER’S ONLINE COURSE
ACOUSTIC GUITAR TECHNIQUES Become a more effective player and learn to better express yourself on the acoustic guitar in Berkleemusic’s Acoustic Guitar Techniques. You’ll learn to strengthen your rhythmic strumming, use of alternate tunings, and fingerstyle playing. This course features in-depth exercise techniques directed at improving your fluency, tone, dynamics, and control.
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BASIC BLUES FORMS
FROM THE ONLINE COURSE BLUES GUITAR
BY MICHAEL WILLIAMS Michael Williams has been active as a blues and jazz guitarist around New England since 1987. He has performed extensively throughout the United States and Canada as a member of Grammy winner James Cotton’s blues band, and with many other artists, including David “Fathead” Newman, Mighty Sam McClain, the Bruce Katz Band, Sugar Ray Norcia, Darrell Nulisch, Toni Lynn Washington, Michelle Willson, Jerry Portnoy, the Love Dogs, blues piano virtuoso David Maxwell, and his own band, Michael Williams and Friends.
Although the blues represents just a
ideally suited for accompanying the human
small share of today’s commercial music
voice. Many bluesmen first picked up guitar
market, its influences reflect upon today’s
simply because one was available from a
rock, jazz, pop, r&b, rap, and even country
friend or family member, and history has
artists and their music. Recently, during the
shown that the guitar was well suited for a
47th Annual Grammy Award Ceremonies,
blues musician’s nomadic lifestyle, since it
recognition and awards for artists such as
was relatively easy to travel with.
Ray Charles, James Brown, Bonnie Raitt,
Let’s start by looking at the most popu-
Janis Joplin, Prince, and so many others,
lar blues form, the 12-bar blues progression.
affirms blues’ undeniable impact on many
Variations of the 12-bar blues are the basis for
styles of contemporary music.
much of the music in rock, jazz, folk, and pop.
Since the earliest days of the blues,
A basic I IV V 12-bar progression can
around the turn of the 20th century, the
consist of as few as three chords: I, the tonic
guitar has been a preferred instrument of
chord; IV, the subdominant chord; and V, the
accompaniment for blues performers. A few
dominant chord. For example, in the key of
circumstances contributed to its popularity
C, the chord progression would be C, F, G.
and prevalence throughout the past one
In blues progressions, those chords are of-
hundred plus years. The acoustic guitar pro-
ten played as (4-note) dominant-7 chords:
duces a wide range of textures and sounds
C7, F7, and G7. This progression may look
for rhythm playing and soloing that are
something like this:
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PRACTICE TIP Play this 12-bar progression as many times as it takes to really have its sound in your ears. Listen especially for the “pull” that the V7 creates towards the I7. This progression is prevalent in all genres of music and knowing it well will help you in many musical situations.
This is a typical I-IV-V blues with the
completes the progression in bar 12, and
“long change,” also known as the “long I,”
takes it home again as it repeats back to the
which means that it starts with four bars of
top at measure 1.
the I chord, followed by the IV chord in bars
Turnarounds , which are fills that are
5 and 6. Measures 7 and 8 return to the I
played by the soloist and/or by rhythm sec-
chord, and then the V chord is played in bar
tion players such as the rhythm guitarist,
9, followed by the IV chord in bar 10. The I
are generally played over the last two bars
chord returns in bar 11, and then the V chord
(measures 11 and 12) of each chorus. The
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turnaround is a very important component Thousands of songs have been
of the blues progression. Each turnaround
recorded that were derived from these
functions as a transition into the next cho-
12-bar blues progressions. Try naming
rus; it complements the vocal line or mel-
ten songs in blues, jazz, rock, or any
ody, and provides forward momentum for
other styles of music that are based on
the flow of the song.
12-bar song forms.
MICHAEL WILLIAMS’ ONLINE COURSE
BLUES GUITAR Blues Guitar Workshop begins by teaching the 12-bar blues harmony, basic rhythm guitar technique, and the pentatonic and blues scale in the open position up the neck. You’ll learn to incorporate some of the nuances of the masters into your playing—from doubling the bass over a shuffle in the style of Buddy Guy, to combining major and minor pentatonic scales in the style of B.B. King and T-Bone Walker. Through call and response exercises and playing in other grooves and tempos, you’ll learn to pace your solos to create tension and release—a technique mastered by all the greatest guitarists. You’ll learn to reuse the concepts and musical elements to expand your musical foundation and enhance your ability, whether you’re trying to bring a blues sound to your playing or add more depth and feel to any other style.
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ONLINE COURSES IN GUITAR
STUDY WITH THE RENOWNED FACULTY OF BERKLEE COLLEGE OF MUSIC FROM ANYWHERE IN THE WORLD, WITH ONLINE COURSES AT BERKLEEMUSIC.COM
ONLINE COURSES • Guitar Scales 101
CERTIFICATE PROGRAMS MASTER CERTIFICATES (8-12 COURSES)
• Guitar Chords 101
• Guitar
• Guitar Chords 201: Chord Melody and Inversions
• Production and Guitar
• Blues Guitar • Jazz Guitar 101 • Jazz Guitar 201: Advanced Jazz Guitar Improvisation
• Songwriting and Guitar
PROFESSIONAL (5–6 COURSES) • Guitar • Jazz Guitar
• Rock Guitar Soloing
• Rock Guitar
• Classic Rock Guitar
• Rock, Rhythm, and Blues Guitar
• Acoustic Guitar Techniques • Acoustic Blues Guitar • Funk/Rock and R&B Guitar Soloing • Rhythm and Groove Guitar • Getting Your Guitar Sound • Steve Vai Guitar Techniques • Basic Improvisation • Gary Burton: Jazz Improvisation
SPECIALIST CERTIFICATES (3 COURSES) • Guitar Skills • Blues Guitar • Blues, Rock, and Jazz Guitar • Improvisation • Steve Vai Guitar
