Layla unplugged version by Eric Clapton

Note about solo

The chords under this solo are C - Bb - Dm. This is a so called V-IV-VI progression in F major. Scales that suit these chords are F major ( F-G-A-Bb-C-D-E) or Dm penatonic (D-F-G-A-C).

Clapton mainly uses the penatonic scale with the added blues note, or "b5" (for Dm pentatonic "b5" is Gb), with brief reference to the major scale.

Riff1 (Intro)

Note - 1st time C chord after Bb is placed in a "pushed" sense with 

strumming on it before beat ends, Next time it is played with normal

time in a beat and 3rd time we slide from Bb to C. 

e----------|------------------------|-------------------------|
B----------|---------------3--3-----|--5--5--5----------------|
G-------2--|---------------3--3-----|--5--5--5--2----------2--|
D-------0--|----0-----3----3--3-----|--5--5--5--0----------0--|
A-0--3-----|-------3--1----1--1--3--|--3--3--3-------0--3-----|

E----------|------------------------|-------------------------|
        D5            Bb5  Bb          C        D5               

--1-------------------|------------------------|
--3----------3--3-----|--5---------------------|

--2----------3--3-----|--5--------2------------|
--------3----3--3-----|--5-----5--0----------0-|
-----3--1----1--1--x--|--3--0--3-------0--3----|
----------------------|------------------------|
  Dm    Bb5  Bb          C     C5 D5
(3rd time same but with slide from Bb to C at right time)

Solo1 (Intro)
----------------------------|

----------------------5--6--|

-------------------7--------|

--5--5--5--7----7-----------|

--3--3--3--5----------------|

----------------------------|

e----------------------------------|

B--5h6h5---5-6--5---------5--6/-8--|

G--------7---------7~--------------|

 

C5       D5                 Dm        Bb
------------------------------------|
----6--8/-10----8--10-/13---10--13--|
------------------------------------|
------------------------------------|
------------------------------------|
------------------------------------|
 

--10-12-10h12h10-----10------------------------------| 

-----------------13------13--10------10--------------|

---------------------------------12------12--12h-10--| 

-----------------------------------------------------|

-----------------------------------------------------| 

-----------------------------------------------------|

C5          D5                        Dm                 Bb
-------------------------------|--------------------------------|
----------------------5--6--5--|--------------------------------|
--9--10--9---------7-----------|--7-----7-----------------------|
----------------7--------------|-----7-----7/-5----3-----3/5-3--|
-------------------------------|----------------------5---------|
-------------------------------|--------------------------------|
  C5        D5                   Dm          Bb                       

-----------------------|

-----------------------|

-----------------------| 

--------0--------------|

--5--3-------0----3----| 

-----------------------|

C       a    c 

[Verse1]
C#m7                              G#7
 What_ will you do__ when you get lonely__?
C#m7          C*      D       E     E7
 With no_one_ waiting by your side__
F#m          B              E                  A
 You've been running_   and hiding much too long__,
F#m            B                 E           A  (hold)
 You know it's just your foolish pride__,    Lay___la_

[Chorus] (Riff1)
Dm       Bb          C                Dm
                You_ got_ me_ on_ my_ knees__ Lay__la_
Dm       Bb          C                   Dm
                I'm_ beg_ging_ dar_lin'_ please__, Lay__la
Dm       Bb          C                   Dm
                     Dar_lin'_ won't you ease_ my_ wor_ried_ mind__
Dm   Bb   C    a  c

[Verse2]
C#m7                       G#7
 Tried_ to give_ you_ consola_tion,
C#m7          C*          D        E     E7
  Your__ old_ man__ won't let_ you down__
F#m       B         E                  A
 Like_ a_ fool__, I fell_ in love with you__,
F#m                B                    E            A  (hold)
 You_ turned_ the_ whole_ world_ upside down__       Lay___la

[Chorus] (Riff1)
Dm       Bb          C                Dm
                You_ got_ me_ on_ my_ knees__ Lay__la_
Dm       Bb          C                   Dm
                I'm_ beg_ging_ dar_lin'_ please__, Lay__la
Dm       Bb          C                   Dm
                     Dar_lin'_ won't you ease_ my_ wor_ried_ mind__
Dm   Bb   C    a  c

[Verse3]
C#m7                               G#7
 Let's make the best_ of the sit_u_a_tion__
C#m7      C*       D     E     E7
 Before I fin'lly_ go_ insane__
F#m             B              E             A
 Please_ don't_ say__    we'll never_ find a way__
F#m           B               E            A  (hold)
 And tell_ me all my loves in vain__       Lay___la

[Chorus2] (Riff1)
Dm       Bb          C                Dm
                     Got_ me_ on_ my_ knees__ Lay__la_
Dm       Bb          C                   Dm
                     Beg_ging_ dar_lin'_ please__, Layla
Dm       Bb          C                   Dm
                     Dar_lin'_ won't you ease_ my_ wor_ried_ mind__
Dm       Bb          C                Dm
                                              Lay__la_
Dm       Bb          C                Dm
                     Got_ me_ on_ my_ knees__ Lay__la_
Dm       Bb          C                   Dm
                     Beg_ging_ dar_lin'_ PLEASE__, LAY__LA
Dm       Bb          C                   Dm
                     Dar_lin'_ won't you ease_ my_ wor_ried_ mind__
Dm       Bb          C                   Dm

[Solo]
Dm   Bb   C   Dm   (7x)

Solo2
e|-5---5b--------5--5--5b-------5b--------
b|-6---6b--------6--6--6b-------6b--------
g|-----------7--------------7-------------
d|----------------------------------------
a|----------------------------------------
E|----------------------------------------

e|----------------------------------------
b|-----------------------------12/13--13--13-}this part do 6 times
g|-7-5-------------------------13/14--14--14-}fast
d|------7-6-5-3-5-3-----3-----------------
a|-------------------5--------------------
E|----------------------------------------

e|----------------------------------------
b|-13-15-13--------------------------10-13-
g|------------14/12--10-------10-12-------
d|-----------------------12---------------
a|----------------------------------------
E|----------------------------------------

e|-10h12p10-------------------------------
b|-------------13-10-11-10----------------
g|--------------------------12-10--7h9-7--
d|----------------------------------------
a|----------------------------------------
E|----------------------------------------

e|----------------------------------------
b|----------5-6-5-------------------------
g|-5-----7-----------7-5------------------
d|----7--------------------7-6-5-3-5-3-----3-
a|-------------------------------------5--
E|----------------------------------------

e|-13b---10-------10-12-10----------------
b|------------13------------13-10---------
g|----------------------------------12-10--
d|---------------------------------------12-
a|----------------------------------------
E|----------------------------------------

e|-13b--10-------15-15-15-15-13--------10-
b|----------13---------------------10-----------
g|-----------------------------------------------
d|-----------------------------------------------
a|-----------------------------------------------
E|----------------------------------------------

e|-12-13-15-13-15-12-13-----------------------
b|------------------------15-13------------13--------
g|-------------------------------14-12-10------12----
d|---------------------------------------------------
a|---------------------------------------------------
E|---------------------------------------------------

e|-------------------10-----------------------------
b|-10----------------10----------------------------
g|------12-10--------10---------------------------
d|-------------12---------9-9-9-9-10---9/7------
a|---------------------------------------------------
E|---------------------------------------------------

e|---------------------------------------------------
b|---------------------------------------------------on to chorus
g|-7-5-----------------------------------------------
d|--------7-6-5---3b-------------0-----------------
a|-----------------------0--3------------------------
E|---------------------------------------------------

Here’s the end solo

E|---------------------------------------------------
B|---------5----5h6p5h6p5-------5-6/8---------
G|-5-7--------------------------7------------------
D|---------------------------------------------------
A|---------------------------------------------------
E|---------------------------------------------------






E|---------------------------------------------------
B|-8-6-5----5h6p5h6p5--------------------------
G|----------------------------7-5-------------------
D|---------------------------------7-6-5-3/5------
A|----------------------------------------------5---
E|---------------------------------------------------

Dm       Bb          C                Dm
                                              Lay__la_
Dm       Bb          C                Dm
                     Got_ me_ on_ my_ knees__ Lay__la_
Dm       Bb          C                   Dm
                     Beg_ging_ dar_lin'_ please__, Layla
Dm       Bb          C                   Dm
                     Dar_lin'_ won't you ease_ my_ wor_ried_ mind__

Dm       Bb          C                Dm
                                              Lay__la_
Dm       Bb          C                Dm
                     Got_ me_ on_ my_ knees__ Lay__la_
Dm       Bb          C                   Dm
                     Beg_ging_ dar_lin'_ please__, Layla
Dm       Bb          C
                     Dar__lin'__ won't you ease__ my__ wor__ried____
Dm   / / / /
mind_____

Chords:
Dm   xx0231
Bb   x13331
C    x32010
C#m7 x46454
G#7  464544
C*   x5555x
D    x57775
E    022100
E7   022130
F#m  244222
B    x24442
A    x02220

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Sultans of Swing (solo or lead type) - Dire Straits

Note: 


"ARP" to indicate that you are to play a broken chord, and one or
more caret "^" characters to indicate a tie. 


Also most "labelled chords" (eg The initial D minors) are to be strummed
rapidly. Knopfler uses demi-semi-quavers with certain stokes muted.
Guitarist is Mark Knopfler who is finger style lead guitarist.
 

                      <--Riff3------------>     ARP 
-------|-----------|------------|---------|-------5--8--5--|
-------|-----------|------------|-----6---|------6---------|
-5--5--|--5^h7--7^^^^^-------7^-|--7-----7|----7-----------|
-5--5--|-----------|----5/7-----|---------|----------------|
-------|-----------|------------|---------|----------------|
-------|-----------|------------|---------|----------------|

              
e|-----------------------|
B|--6--6-5h6p5-----------|
G|-------------7^^^------|
D|-----------------------|
A|-----------------------|
E|-----------------------|

Dm    C  Bb    A
Verse

Dm C Bb A 
g---4b(6)r(4)b(6)r(4)---(i.e bend release on 4th note on G string...2 times)
Dm C                                              
|------------------------|------------|
|----10------10------10^^^^^------10--|
|------------------------|------------|
2/11------11------11------|----11-----|
|------------------------|------------|
|------------------------|------------|
F(with C shape barre on 5th fret)
Riff1 x means remove the hand to mute the sound once played 
e------------------------------------
B--5---5-6h5-6h5--3------------------
G--5---5-5---5-5--3------------------
D--5x-x5-7--------3------------------
A------------------------------------
E------------------------------------    .

Riff3
Riff2

e------------------------
B--3--6----3/5-----------
G--3--3----3/5-----------
D--3----5--3/5-----------
A------------------------
E------------------------  
verse2
                               Dm    C  Bb    A
e|-----------|--------------|--5--|--3--1--|--5--5--------|
B|--3/5--5---|--------------|--6--|--5--3--|--5-----------|
G|--3/5--5---|-----------5--|--7--|--5--3--|--6-----6--6^^^
D|--3/5--5---|-----5^h7-----|--7--|--5--3--|--7-----------|
A|----------6b(7)-----------|--5--|--3--1--|--7-----------|
E|-----------|--------------|--5--|--3--1--|--5-----------|


e|--5^h6-----5-----3-----|--1^^^^^^^^^^^--10^p9-------|----------------|
B|-----------------------|-----|-----|-----------h10--|----------------|
G|^^^^^^--6-----4-----2--|-----|-----|----------------|--9\7--6--------|
D|-----------------------|-----|-----|----------------|----------7--5--|
A|-----------------------|-----|-----|----------------|----------------|
E|-----------------------|-----|-----|----------------|----------------|

    F     F     .                                             .  .
e|--1--|--1--|--------------------|-----|--|----10---9--|--5--------|
B|--1--|--1--|--5--5--6^p5^h6^p5--|--3^^^^^^^^--10--10--|--6--3--3--|
G|--2--|--2--|--5--5--5--5--5--5--|--3^^^^^^^^----------|-----3--3--|
D|--3--|--3--|--5--5--7--5--7--5--|--3^^^^^^^^----------|-----3--3--|
A|--3--|--3--|--------------------|-----|--|------------|-----------|
E|--1--|--1--|--------------------|-----|--|------------|-----------|

      .
e|----------|----------|----------|----|--------|--------|-----------------|
B|--3/5--5^^^^^--3--6--|--3/5--5^^^^^--|--6--5--|--3--6--|--6^p5--5--5/10--|
G|--3/5--5^^^^^--3-----|--3/5--5^^^^^--|--7--5--|--3--7--|--5^^^--5--5/10--|
D|--3/5--5^^^^^--3-----|--3/5--5^^^^^--|--7--5--|--3--7--|--7^p5--5--5/10--|
A|----------|----------|----------|----|--------|--------|-----------------|
E|----------|----------|----------|----|--------|--------|-----------------|

                       .
e|----------|----|-----------|-------|------------|-------------|
B|--10--8^^^^^^--|--6--5--3^^^^^--6--|--6^p5--5---|-------------|
G|--10--9^^^^^^--|--7--5--3^^^^^--7--|--5^^^--5---|-----------5-|
D|--10--10^^^^^--|--7--5--3^^^^^--7--|--7^p5--5---|-----5^h7----|
A|----------|----|-----------|-------|-----------6b(7)----------|
E|----------|----|-----------|-------|------------|-------------|

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Arpeggios - the introduction

An arpeggio is chord notes played in succession instead of simultaneously. So if someone says to arpeggiate an Am chord what they mean is play it one note at a time, instead of strumming all the notes at once.
Here is an example:
 
Using arpeggios in your solo is a great way to create interesting melodies and outline the chord changes you are playing over. A great way to do this is to use the arpeggio of the chords you are playing over to help indicate the chord changes and great nice melodies on guitar. Here is an example of using the arpeggios of the chord you are soloing over:

Having an arsenal of arpeggios at your fingertips will greatly improve your soloing technique and help you become a better player. Here are two great exercises to practice to help you learn arpeggios and improve your speed and technique. The trick to this exercise is to make sure you say the same of each arpeggio as you play it so you really learn their names. Also make you are alternate picking and using a metronome! And lastly, make sure you are not going too fast for yourself. Always start slow.
The first exercise is to go through the C major scale and arpeggiate all the triad of the C major scale. First we will go up the strings in one position, then we will stay on the same strings and go up the neck:
(Quarter notes)


Then play the same thing with 7 chord arpeggios
 
Then play triads on the A and D strings going up the neck and back down:

Now see if you can play the same thing but play 7th chord arpeggios. If you don’t remember how to make a 7th chord see the lesson on building 7th chords. If you go up the neck in a similar way as this you will need to use three strings to play the 7th note. I’ll get you started by showing you the Cmaj7 arpeggio:
-----------------
-----------------
------------4--
-----2--5-----
--3-------------
------------------
See if you can figure out the rest ony your own going up the neck and starting each arpeggio from the A string. If you have questions post them to the comments!
After you master this in C you should play it in all other keys. That way you will know all the standard arpeggios in all keys and you will be able to apply them all to your guitar lines.

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Chord Extension - the "add" chords

The 6th chords are the most notable exception. A note about compound intervals is in order.
A 9th, for example, is a 2nd in the octave above the root of the scale. As a rule of thumb subtract 7 from the compound name to find the equivalent scale degree. Following the 3rd rule you get the following types of chords: 7th 9th 11th 13th. Note that any of these types of chords imply that there are also each of the types of notes to the left of it. For example a 9th chord implies that there is also a 7th, an 11th chord implies that there is also a 7th and a 9th. I don’t believe that there are any others of these types of chords because a 15th would be the root note two octaves up and that would be considered doubling the root note. It is possible to build a chord with a 9th but without a 7th. This would be called add9. Similarly for other intervals.
In the case that you need to spell an extended chord, I would suggest that you write out the scale of the root of the chord. Make it a minor scale if the triad is minor, and a major scale if the triad is major. Then you add each extended note to the triad. Diminished triads must be treated more carefully. You’ll have to build a scale that contains the proper type of diminished 7th on the seventh note of the scale.
As an example lets built a C11.
What is a chord extension?
A chord extension is a basic chord with extra notes added on to give the chord a more complex sound. Think of it like a painting: A painting of a tree may look nice. But if the artist adds in other details like birds on the branches, drops of rain dripping off leaves, and flowers at the base of the trunk, then the painting starts to come alive with color and reality. Chord extensions are like the colorful details in a painting that will give your chords extra life and texture.
How to create a chord extension
There are many different chord extensions. But knowing some basic principals of chord extensions will allow you to learn them much quicker and build them on your own.

Just as a refresher: the notes of a basic major chord the notes of a major 7th chord are 1-3-5-7. So there are still some notes of the major scale that are not used in those chords, namely the 2, 4,and 6. So we can add those notes to our chords to make chord extensions.
But it is important to note that these notes are almost never called by 2, 4, and 6 in chord extensions. They are almost always called the 9, 11, and 13. Why? Well because when you ad these notes to your chord you play them in the next octave. Here is what I mean:

So once the major scale gets to the second octave the note numbers are still being counted from the first octave. So even though the D note is a 2 in the 1st octave, it is called the 9 if you are playing it in the second octave. And when you play chord extensions you add the extensions to the second octave so it goes by 9, not 2. So let’s take a look at a Cadd9 chord:

See how the D note is played in the next octave above the root C note. If it were in the same octave than the D not would be on the 5th fret of the A string (or just an open D string). This is also known as a Drop 2 Chord voicing.
The difference between Cadd9 and C9
Also note that when you see a chord and then “add’ and then the extension number, like Cadd9, it just means play the regular C major chord and then add the 9th to it. So Cadd9 would have the notes 1, 3, 5, 9. But if you just see a chord and an extension number it means add all the chord tones all the way up until that extension. So a C9 would be the notes 1, 3, 5, b7, 9. (There is a flat 7 b/c if there is a chord name with a number directly next to it than it means it is a dominant chord and there is a flat 7. If the 7 was natural, the chord would be called Cmaj9, which would be 1, 3, 5, 7, 9).
Altering notes to relieve dissonance
There are certain cases where chord extension notes create dissonance. For example in a major chord with an 11th extension the 3rd of the major scale sounds dissonant against the 11 (because the 11 is the same as the 4 and there is only a half step between the 3rd and 4th note of the major scale. And notes ½ step apart played at the same time sound dissonant). So relieve this unwanted tension we will always make the 11 sharp of any 11th chord extension. So a Cmaj11 is 1, 3, 5, 7, 9, #11 even though the chord name is just Cmaj11, not Cmaj#11. You do not need to play the #11 in minor chords with an 11th extension because the 3rd is flat in the minor chord so there is a whole step distance between the 3rd and 4th note, not a half.
How To Play a Chord Extension on guitar
So now lets apply some of this knowledge to playing chord extensions on guitar. We first have to realize that since we keep adding notes as our extensions get higher that some extensions will have too many notes to humanly fret on guitar. But there is a solution. We can drop some of the notes and keep just the notes that will bring out the essence of the chord.
So here’s what we do: We keep the root note, because it will define what the name of the chord is. We keep the 3rd note, because it will define if the chord is major or minor. We keep the 7th note, because that tells if the chord is dominant, major, or minor, and we keep the highest extension we want to play, because that defines what chord extension it is. We drop the 5th note and all the extensions besides the highest one.
So for example a C13 would be played with a 1, 3, 5, b7, 9, #11, and 13. But on guitar we just play the 1, 3, b7, and 13:

So now you have the ability to create chord extensions on your own. But be sure to use drop 2 voicings when you play them!

C Major scale: C D E F G A B
C triad: C E G
Note that the 11 implies a 7th and a 9th
C7: C E G B
C9: C E G B D
C11:C E G B D F
Another example Am6
A Minor scale: A B C D E F G
Am triad: A C E
Am6 : A C E F
The highest number/note in the chord is the number you use in the chord symbol - AS LONG AS - the notes/numbers preceding it are also included!
In add chords we don’t need to include lower notes.
Eg. C add9 means add 9 to C.
Cadd9 : 1 3 5 9
So 7 is missing and you have not to play 7 at all.
Eg. Consider G add9, where we don’t play 7.

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Chord Inversion on Guitar

Chord inversions are one of those things that often seem a lot more complex then they really are. A lot of guitar players push off learning how to play chord inversions on guitar because they think it is too complicated for them. In this lesson I will try and break down what chord inversions are and show you how to play a few of them. And once you understand what chords inversions are you will be able to figure out all sorts of them on your own.
Here it goes:
What is a chord inversion?
Unless you know chord inversions, which for this lesson I am assuming you don’t, the chords you are used to playing are all in “root position”. This means that the tonic of the chord is the lowest not (the bass note) of the chord. So, for example, in an Cmaj7 chord the bass note of the chord is C. But whenever a note other than the root (tonic) is the bass note, then the chord is an inversion. Make sense?
As you know, most chords are played with three or four notes on guitar. That means that besides the tonic, there are at least two to three other notes that can bee in the bass position. (For example a C major chord is C, E, G. Besides C there are two other notes that can be first. Cmaj7 is C, E, G, B. Besides C there are 3 other notes).
How to make chord inversions
There are three common chord inversions and they’re called first inversion, second inversion and third inversion. In first inversion the 3rd of the chord is the bass note. (It’s called first inversion because the 3rd of the chord is the first note after the tonic). In second inversion the 5th of the chord is in the bass. (Called second inversion because the 5th is the second chord tone after the tonic). And third inversion has the 7th as the bass. (Called third inversion because….well, you get the idea). Not so bad too far, is it?
The drop-two voicing
Before we look at how the three chord inversions are, this would be a good time to make sure you know what “drop-two” chord voicings are because we are going to use them to build or chord inversions to make them easy to play on guitar. So take a moment to read my post on drop-two chord voicings and them come back to this post and continue where you left of. If you already know what a drop 2 chord voicing is then just keep reading.
Playing chord inversions on guitar
Ok, back to the three Cmaj7 chord inversions. Ok. So the notes of Cmaj7 chord are C, E, G, B. So here is the standard Cmaj7 chord in root position with a drop-two voicing applied:
Now let's see the first inversion. So let’s take the root note and send it to the back of the line. So the chord spelling for first inversion would now be: E, G, B, C. But that note grouping will be hard to play on guitar, so let’s also give it the drop-two voicing. So the new note order would be E, B, C, G.
Here is a graphical explanation of what we just did:

And that is how you play the first inversion on Cmaj7 on guitar: (This one is a bit of a stretch to play. But once your hands are used to it, it won’t be so hard)

To make the second inversion we will do the same process as the first inversion, only instead of starting with the Cmaj7 note grouping from root position, we will start with the first inversion note grouping BEFORE we added the drop to. So this is how we create the second inversion:

And here is how you play Cmaj7 second inversion on guitar:

For the third inversion we follow the same process, only we start with the note grouping of the second inversion BEFORE we dropped the two:

And here is how you play Cmaj7 third inversion on guitar:

There. That wasn’t too hard, was it? Now you can play and chord inversions you want. Just follow the process:
1. Write out all the notes of the chord in root position
2. Send the first note to the back of the line
3. Then drop the second note to the back of the line
4. Find the notes on the fretboard
5. Repeat the steps, only for step one start with the notes from your first inversion before you dropped the two.
Try figuring out other chord types like min7, dominant (7), 9th chords, and so on. Also, keep in mind for three note chords you will only have two inversions.
Play through the different inversions on your guitar and listen to how the different inversions have different sound qualities even though they are the came notes. This is why inversions are such a powerful tool to freshen up your guitar playing: you can create different moods by substituting inversions for root position chords in your playing.

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Learning your guitar’s fretboard

Now that you know what notes are and how they work (Click here to see the lesson if you don’t), we can apply it to you guitar’s fretboard.
Now that we know the order of the notes, we can figure out what all the notes are on your guitar. Let’s start with the open strings (an open string is a string played open, without your hand fretting it at all. If you pick any one of your guitar strings without touching it, that an open string)

The thickest string on your guitar, the one closest to you, is called the Low E string. Playing that string makes an E note. This string is also referred to as the 6th string. The next string down, the 5th string, is called the A string. Playing this string alone will give you an A note. The 4th string is called the D string. The 3rd string is called the G string. The 2nd string is the B string. And the 1ast string is called the High E string. The low E and the High E make the same note, but the high E string makes and E note one Octave higher than the low E string. So they have the same sound quality, but the high E is at a higher frequency.
Play the low E and high E strings at the same time. If your guitar is in tune, you should notice they sound the same, but one is a higher pitch.
Now that we know the names of all of your guitar strings, lets look at the fretboard and see what all the notes are. Since we know the order of the notes, and we know what not each string is, we can name all the notes on your guitar. Take a look at this diagram. Also, refer to the last lesson on notes if you are confused (click here for the lesson on notes):

Remember that there are only 12 notes, so once the notes reach the 12th fret, they start over as if you are starting from the beginning of that string. I.E. the 13th fret on the 6th strong (or low E string) is an F note, just like the first fret.

Also, remember, the distance between each note is called a half-step. So the distance between each fret also is a half-step (because each fret goes up or down by one note).

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Drop-2 Chord Voicings On Guitar—Freeing Your Fingers

Chances are that if you play any 4 or more note chords on your guitar, you are using a drop 2 guitar voicing—you just may not know it. Drop two guitar voicings are altered chord formations that make it easier to play 4 or more note chords on guitar. Drop 2 chord voicings are used almost all the time for 4+ note chords and their inversions.
So what is a drop 2 chords voicing you ask? Simple. As the name suggest, a drop-2 chord voicing on guitar is when you take the second note of the chord you are playing and drop it to the bottom, so it becomes the last note in the chord.
When you play a standard 4 note chord on piano the chord tones are typically played in order from low to high. So the notes go in order starting from the lower piano keys and move up. So the lowest note in the chord is the 1 (tonic), then the 3, then 5, and the 7.

The problem is that due to the nature of the guitar, you can’t play notes in order on a string because you can only play one note per string (the most notes you’ll ever be able to play on guitar at one time is 6). And your hands aren’t big enough to play the necessary notes in order while skipping guitar strings. In order to play the notes of a 4 note chord in order from low to high your fingers would have to play this (Numbers in dots represent scale degrees):

(notes in red can’t both be played b/c they are on the same guitar string)
So if we take the notes of D major 7: D, F#, A, C# and we take the 2nd note and “drop” it to the end we have : D, A, C#, F# or 1, 5, 7, 3. So now you can easily play the D major 7 chord on guitar:

(Numbers in dots represent finger numbers)
So next time you are trying to spell out a 4+ note chord and you can’t figure out how to apply that chord to the guitar, try using the drop-2 chord voicing, you will find that playing that chord will become a lot easier.
Tip: Drop two chord voicings on guitar can also be applied to chord inversions. I will discuss what chord inversions are and how to use them at a later date so stay tuned!

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Diatonic harmony- the building block of composition

Note: Before you read this post it would help you if you read my post on notes, the major scale, and building chords.
As discussed previously a diatonic scale is a scale consisting only of the 7 notes which fit within a givins scale's formula. The most famous and useful (at least in western music) is the major scale (i.e. The major scale is diatonic b/c is consists of all 7 notes derived from the W-W-H-W-W-W-H formula). If you recall, major chords are built from the major scale by taking the 1,3, and 5 notes of the scale and the minor chord is made by taking the 1, 3b, and 5 notes of the major scale. These notes are chosen because chords are made by stacking either major or minor 3rd intervals (See my post on intervals if you don’t know what major and minor 3rds are)

Now lets get into the diatonic harmony. Basically diatonic harmony is using the 7 notes of a scale to make 7 different chords that are all in the key of the root note. So all the notes and chords in diatonic harmony will only use scale tones. No outside tones are used.
We will use the key if C major as an example. As discussed before the C major scale is C – D – E – F – G – A – B – C. This is in the key of C because the 1st note of the scale is C. So if you start from the C note and “stack 3rds” (note, an easier way to look at stacking thirds is that we are using every other note) we get C, E, G—or the 1, 3, 5. Those are the notes of the C major chord. But how do we derive other chords from the C major scale? Simple. We just start stacking thirds from another note and then compare the results to that notes major scale. Here is what I mean:

If we start on the second note, D, and stack 3rds we get the notes D, F, and A. Lets compare those notes to the D major scale so we can see what chord that is. Let’s apply our major scale formula of W-W-H-W-W-W-H to the D note. The result is D-E-F#-G-A-B-C#-D. So the notes D, F, and A would be the 1, 3b, 5 of that scale. (because the F# note is flatted to an F). So 1, 3b, 5 is the formula for a minor chord. So the notes D, F, A are a D minor chord. So the second chord in the C major diatonic harmony is D minor!
Lets look at the rest of the notes. (blue represents the 1st note) 
So we have
E, G, B or the 1, 3b, 5 compared to the E major scale of E-F#-G#-A-B-C#-D#-E. that gives us an E minor.
F, A, C or the 1, 3, 5 compared to the F major scale of F-G-A-Bb-C-D-E-F. That gives is F major.
G, B, D or the 1, 3, 5 compared to the G major scale of G-A-B-C-D-E-F#-G That gives is G major.
A, C, E or the 1, 3b, 5 compared to the A major scale of A-B-C#-D-E-F#-G#-A. that gives us an A minor
B, D, F or the 1,3b, 5b compared to the B major scale of B-C#-D#-E-F#-G#-A#-B. That gives us B diminished.
So the diatonic chords of C major are:

Note the roman numerals below each chord. These refer to the degree of the scale each chord is build on. And the case of the numeral indicates if that chord is major or minor. The little “zero” by the vii indicates that chord is diminished. So if someone says they are playing a ii-V-I ( 2-5-1) in the key of C they want you to play the chords Dm, G, C.
It’s also important to note that each one of these scale degrees as a different name:
 

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Building Chords- Using Scales to Make Major, Minor, and Sus2 and Sus4 chords

See the section on major scale.

A basic chord is built on 3 notes. These 3 note chords are called “triads”. Other notes can be added to a tried to make “extensions”. This lesson will focus just on triads.
There are 6 important types of chords that you need to know: Major chords, minor chords, diminished chords, augmented chords, sus chords, and 5 chords. Major and Minor chords are the most important chords in western music. Diminished chords are also very important. Major chords are said to have a “happy” tone while minor chords are said to have a “sad” tone. Diminished chords are great for building tension. This lesson will explain how to make major, minor, and diminished chords. So lets build some chords.
If you remember from the lesson on the major scale, there are 7 notes in the major scale. By taking certain notes out of this scale we can build a triad. So what notes do we take? Well that depends on what chord we want to build.
Lets name the notes in the scale from 1 to 8(Last note is same as 1st note)....For eg. consider C scale:

The Formula’s for major and minor chords are as follows:
Major: 1-3-5 . So that means you take the 1st, the 3rd note and the 5th note and play them together. That gives you a major triad. In case of C chord we have CEG notes covered.
Minor: 1-3b-5. Minor chords are made by taking the 1st note, the b3rd (this means you “flat” the 3rd note by moving it down one half-step), and the 5th note. In case of Cmin, we have D# instead of E in CEG...So minor chord of C changes to CD#G or CEbG.
Diminished: 1-3b-5b. Diminished chords are made by playing the 1st note and flatting both the 3rd and the 5th notes of a scale. In case of Cdim chord is CEbGb or CD#A#.
So the difference between a major and minor triad is the 3rd note. A minor triad has a flat third note.
You will notice that to build a chord we are stacking either Major 3rd or minor 3rd intervals on top of each other. So chords are made by stacking 3rds. (If you don't know what I'm talking about see my post on intervals).

So if we want to make a C minor chord all we have to do is flat the 3rd. So lets move the E note down one half step. So C minor would be C, Eb, G. Got it? And what would a C diminished chord be?
You got it. C, Eb, Gb. (because we flat the 3rd and 5th notes!)
Now lets look at the guitar chord charts and see how to play these chords.

Some more examples.

Understanding Tone difference in Tone

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Major Scale Introduction

The major scale is the cornerstone of all western harmony. It has seven notes (plus the octave in practice), which in solfege are the syllables: Do, Re, Mi, Fa, Sol, La, Ti and Do. If it doesn't sound like that, something is wrong...

Fingering

With each scale I have discussed my preferences for fingering the scale. There are many approaches and so long as you have a logical one, it will be fine. I have thought about these things a lot and think I have a compelling argument in favour of each finger decision, but please contact me (via the forum) if you disagree - I am certainly up for discussing it (how sad... get a life...).
I will also add the alternative shapes and fingerings that I know are in common usage and my reasons for choosing the ones I do. There is no right and wrong.

Practice

All these CAGED shapes have 17 notes (3 notes on each string, except for one string which will have only 2 notes). This gives you the perfect number for practicing scales with a metronome because if done correctly with 4 notes between each metronome click (16th notes, semi quavers) you will always arrive back on the root note on the beat :)

Scale Formula

The scale formula for the major scale must be memorised, as you will use it often to work out chord tones. The formula describes the interval distances between each note of the scale.

T ^ T ^ S ^ T ^ T ^ T ^ S
(T=Tone, S= Semitone)

In terms of frets it is 221 2221 ..

Examples

Note      Major Scale

C      C    D    E    F    G    A    B
D      D    E    F#   G    A    B    C#

more 

Points to remember
 

Tips for learning scales quickly, easily and perfectly

• DO IT SLOWLY AND GET IT RIGHT
Don't make any mistakes. Play it 4 times perfectly at a very slow speed and you will find you can speed it up without making mistakes and developing bad habits you will have to correct later.
• USE YOUR FINGER TIPS
Do not let your fingers "fold", use the tips the whole time, and definitely NO barres at any point. Ever.
• ALWAYS START AND END ON THE LOWEST ROOT NOTE
T his will help train your ears into hearing the sound of the major scale, very important. So start on the lowest (pitched) root note, play up as far as you can, then go back down as low as you can, and then back up to the root note.
• LEARN THE POSITIONS (SHAPES) ONE AT A TIME
It is very important that you get all five of these positions down... eventually, but please start with one at a time - much much better to be able to use one scale shape and play a solo than play five up and down and not be able to do anything with them :)

Note: 
The following two are important to remember, we call them accidentals:

• #: the sharp sign: makes a note a half step higher
• b: the flat sign: makes a note a half step lower

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Intervals

An interval is the distance between two notes and it is calculated from the lower note. Different intervals have different sound qualities. Learning intervals will help you develop your ear and it is a great ear training exercise. For instance, if you can recognize the sound of a Minor 3rd interval then you will be able to hear when a melody you like uses it, thus you will be able to play it back.

There are two types of Intervals: harmonic intervals and melodic intervals. A harmonic interval is the distance between two notes played in unison. A melodic interval is the distance between two notes played in succession. Here are some tabbed examples:
Harmonic Interval Melodic Interval
-------------------- ----------------------
-------------------- -----------------------
-------------------- ----------------------
-----------2-------- ----------------2------
-----------3--------- -------3----------------
---------------------- -----------------------
There are two characters for every interval: size and quality. Size refers to the distance between the two notes and quality describes the type of sound that interval has.
There are 13 common interval distances (numbers), intervals higher than 13 are rarely used. The first 8 intervals are called “simple intervals” because they are within an octave. Intervals 9-13 are called “compound intervals”. Interval distance is always counted from the 1st note of the scale:

(since that is hard to read, here are the numbers for each interval. the first number is the lower number, the 2nd is the one above it: Unison: 8, 3. 2nd: 3, 0. 3rd: 3, 2. 4th: 3, 3. 5th: 3, 5. 6th: 3, 2. 7th: 3, 4. 8th: 3, 5. 9th: 3, 3. 10th: 3, 5. 11th: 3, 1. 12th: 3, 3. 13th: 3, 5.)
There are 5 terms that describe the quality of intervals: perfect, major, minor, diminished, and augmented. These are the same types of sounds that are used to describe chords. To figure out the quality of intervals we need to look at the interval numbers and qualities in the major scale.
The major scale has two qualities of intervals: perfect and major. The perfect intervals occur on the unison (1st), 4th, 5th, and octave. The major intervals are the 2nd, 3rd, 6th, and 7th. The compound intervals are the same as the simple intervals.

 
(since that is hard to read, here are the numbers for each interval. the first number is the lower number, the 2nd is the one above it: Unison: 8, 3. 2nd: 3, 0. 3rd: 3, 2. 4th: 3, 3. 5th: 3, 5. 6th: 3, 2. 7th: 3, 4. 8th: 3, 5. 9th: 3, 3. 10th: 3, 5. 11th: 3, 1. 12th: 3, 3. 13th: 3, 5.)
Minor, Diminished, and Augmented intervals are made by altering a perfect or major interval either by moving the second note a half step sharp or a half step flat (if you do not know what this means see my post on notes). By altering an interval you do not change the number, just the quality.
Whenever a perfect interval is raised a half-step it becomes augmented. So if we raise a P1st (perfect first) one half-step it becomes an A1st (augmented 1st).
Whenever a perfect interval is lowered by one half-step it becomes diminished. So a P5th lowered by a half-step becomes a d5th (diminished 5th).
When a major interval is raised a half-step it becomes augmented (just like a perfect interval). So a M2nd (major 2nd) raised by a half step becomes a P2nd.
When a Major interval is lowered by a half-step it becomes minor. So a M3rd lowered by a half-step becomes a m3rd (minor 3rd. Major gets a capital M miner gets a lower case m).
When a minor interval is lowered a half-step it becomes diminished. So a m3rd lowered a half-step it becomes a d3rd.
I know this is a lot to digest. I would say start with the intervals of the major scale and play those. Get your ear familiar with them. Once you are comfortable, have a friend play and interval from the major scale and try to guess what it is (no peeking). This is a good ear training exercise.

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Understanding the basics : Notes

Before you really start understanding guitar you need to know a little bit about how music works (commonly called Music Theory). I am going to explain what notes are and how they work. This will help you understand later lessons that go deep in into music theory.
Here is the definition of a note from dictionary.com: Note- a sign or character used to represent a tone, its position and form indicating the pitch and duration of the tone.

Notes are the building block of music. They can be played one at a time to form a melody, or they can be played in unison to form a harmony. Melody and harmony are the backbone of any good musical piece. [Melody is a group of notes played one after the other. Harmony is a group of notes played at the same time]. All scales and chords are made out of notes. There are twelve notes in western music (some Asian and African cultures have extra notes in their music, but it is not relevant for our purposes). Those notes are:
The “#” is pronounced “Sharp” and “b” is pronounced flat:

The distance between one not is called a Half-Step. So from A to A# is a half step. The # sign means one half-step up. So A# is one half-step up from A. Thus D# is one half step up from D. But E is WHOLE-STEP up from D. (because two half-steps = a whole-step. So D to D# is a half-step and D# to E is another half-step. That equals one whole step from D to E).
The “b” sign means you go DOWN one half-step. So Gb is one half-step below A. Db is one half-step below D.
The reason I put a red box around some notes is because those notes are the same note, just with a different name. So A# is the same is Bb because A# is one half-step up from A and Bb is one half-step down from B. Thus the notes sound the same. We will get into the reasons later as to why it would be called A# vs. Bb and visa versa. Notes that sound the same but have different names are called enharmonic notes. So Ab and G# are enharmonic.
Don’t worry about it for now.
Also notice that the notes B and C as well as E and F have no sharps or flats between them. This there is no such notes as B# (same note as C), Cb (same note as B), E# (same not as F), and Fb (same not as E)
I know this may seem a little confusing at first. Just make sure you follow along with the graphic of the notes.

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How to practise Scales - major and Minor pentatonic

We will consider mainly 2 scales - C major scales and Am pentatonic scale 
1. You know the entire scale, right? There are five shapes that take you across the neck (one octave, anyway…then they repeat). You can’t complain about being stuck in a rut if you’re only using the first shape you learned! Do a web search for the other five shapes.
2. More obvious for those who might not think it’s obvious: Hammer ons, pull offs, palm muting, string bends, vibrato, double stops, tapping, slides with the fingers, bottleneck slide, string skipping, hybrid picking (pick and fingers), chickin’ pickin’, and combinations of these. Many lessons & things to be learned in studying these techniques. If you’ve left one out you’ve got some catching up to do!
3. Take the scale up and down one string, sliding around, one scale note at a time, skipping over notes to jump different intervals. If you’re playing in a key that hits the 12th fret, don’t forget that includes the open string, so you can do any scale riff with open strings, such as Van Halen style tapping, Satriani hammer/pull off clusters that climb down the neck, etc.
Taking this to the next level, you can work on riffs on just the first two strings, the first and third strings for quality string skipping practice and any combination on other strings.

4.Learn the sequences-
Groups of three
1a-- 123, 234, 345, etc. Also part 2 is 123, 321 : 234 , 432 : n go
on…sim for every prac
1b-- 321, 432, 543, etc.
1c-- 132, 243, 354, etc.
1d-- 312, 423, 534, etc.
1e—12, 12 , 33;
1f—121, 32321 ;

Groups of four
2a-- 1234, 2345, 3456, etc.
2b-- 4321, 5432, 6543, etc.
2c-- 1243, 2354, 3465, etc.
2d-- 1321, 2432, 3543, etc.
2e – 1432, 2543


Intervallic
3a-- 13, 24, 35, 46, etc. (thirds)
3b-- 31, 42, 53, 64, etc. (rev. thirds)here
3c-- 13, 42, 35, 64, etc. (rev. every 2nd)

4a-- 14, 25, 36, 47, etc. (fourths)
4b-- 41, 52, 63, 74, etc. (rev. fourths)
4c-- 14, 52, 36, 74, etc. (rev. every 2nd)

5a-- 15, 26, 37, 48, etc. (fifths)
5b-- 51, 62, 73, 84, etc. (rev. fifths)
5c-- 15, 62, 37, 84, etc. (rev. every 2nd)

Am pentatonic scales all positions – dh sa re ga pa dh

5. Play the scale randomly, with notes in random order.
6. Add any note outside the scale. Overdoing this might make you sound as if your guitar is broken, but as you learn the nuance of adding chromatic notes you’ll get a feel for how spicy you want to make it. Generally speaking (VERY general) you want to add a chromatic note quickly on the way to a note that’s in the scale, so you might want to save the sustained notes in your riff for scale tones. There are plenty who will disagree with that but hey–I’m just offering an idea to try!
7. Switch between major and minor pentatonic? Depends on the song, but in many blues tunes (for example) the results can sound pretty cool.

8. Apply diatonic harmony principles. Basically, if you’re playing blues in G major you can play Am, Bm or Em pentatonic, as they’re all essentially parts of the G major scale (part of A dorian, B phrygian and E aeolian, to be more specific). If you’re playing in the key of E minor you could try Em, F#m and Bm pentatonic (essentially parts of the D major scale).
9. Solo with octaves within the key you’re in. So in A minor pentatonic you’d only use A-C-D-E-G octaves, either riffs created from groups of A-C-etc. or octave chords where you strum the octave notes at the same time, muting any unneeded strings.
10. Learn E minor (or whatever key) arpeggios, triads and chords every way you can and solo off those notes. Apply to other chords in the progression.
11. If you don’t know the major scale yet, it’s really time to get the ball rolling on that. The major scale is the foundation of western music and the gateway to all the cool advanced things in guitar, such as modes, chord theory, etc. You’ll have many more soloing options at your fingertips with the major scale in the mix–and not necessarily “happy” sounding riffs you’d expect upon first learning it. Jamming in E blues knowing you could have the following options in your fingers: E maj/min pentatonic, E dorian, E mixolydian, E blues, E aeolian and others? Learning the major scale first will make the advanced stuff sooooo much easier to grasp. Do it!


12. Listen to players who make their pentatonics sound amazing and learn their riffs!
13. Do you always use your index finger FIRST when you move to the next string? For example, if you’re playing the first shape in the key of Am (starting on the 5th fret), does your index finger always play the 5th fret FIRST before hitting the next note on that string? If so, try reversing it. Play the pinky on the 8th fret FIRST (if you’re starting on the 6th string), then that index on the 5th fret and so on across each string.
Of course, I’m am but one humble guitar teacher and lifelong student of the instrument, so additional suggestions are most welcome. 

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Diatonic harmony

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Pearl Jam - "Alive" Guitar tabs. Accurate and free

Notation legend:

\: slide down
/: slide up
h: hammer on
p: pull off
b: bend up to note between ()
r: release bend
~: vibrato
+: represents the beat


                                  INTRO
(First, Gtr.1 plays the first bar and Fig.1 once (Gtr.2 is quiet). Then
Gtr.1 repeats Fig.1, while Gtr.2 joins in with Fig.2a and 2b. After this,
Gtr.1 plays Fig.3a, and Gtr.2 simultaneously plays Fig.3b.)


  Gtr.1 (distortion) 
  +     +     +     +
|-----------------------------|
|-----------------------------|
|--------------------------0--|
|------------------------0----|
|-------------------10\-------|
|-----------------------------|

  Gtr.1
  Fig.1                                              End Fig.1
  +      +     +   +          +     +       +      +
|---------------------------|--------------------------------|
|---------------------------|--------------------------------|
|-2-------------------2-2-2-|-2---------------------------0--|
|-2------0h7h9--7~~~--2-2-2-|-2-----0h7h9--7-9b(10)r9---7-0--|
|-0--5/7--------------0-0-0-|-0--5/7--------------------5----|
|---------------------------|--------------------------------|

Gtr.1: repeat Fig.1 three times, while Gtr.2 plays

   Gtr.2 (clean)                
  Fig.2a                 End Fig.2a
  +   +    +  +    +   +    +   +
|-0------5------|--0------5-------|
|-2------3------|--2------3-------|
|-2------2------|--2------2-------|
|-2------2------|--2------2-------|
|-0------0------|--0------0-------|
|---------------|-----------------|

 Gtr.2
 Fig.2b               End Fig.2b
   +       +     +     +        
|--0-----0-0---5---5-5-5---0-0-|
|--2-----2-3---3---3-3-3---2-2-|
|--2-----2-2---2---2-2-2---2-2-|
|--2-----2-2---2---2-2-2---2-2-|
|--0-----0-0---0---0-0-0---0-0-|
|------------------------------|
Git.2: repeat Fig.2b three times

Then play Fig. 3a and b simultaneously, where the first bar is 2/4, and the
second 4/4:

  Gtr.1
  Fig.3a              End Fig.3a
  +           +        + + + +
|--------------------|---------|
|--------------------|---------|
|-10-10-10-10----5-5-|-(5)-----|
|-10-10-10-10----5-5-|-(5)-----|
|--8--8--8--8----3-3-|-(3)-----|
|--------------------|---------|
                   Let ring

  Gtr.2
  Fig.3b              End Fig.3b
   +          +        + + + +
|--1--1--1--1----0-0-|-(0)-----|
|--1--1--1--1----1-1-|-(1)-----|
|--2--2--2--2----0-0-|-(0)-----|
|--3--3--3--3----2-2-|-(2)-----|
|--3--3--3--3----0-0-|-(0)-----|
|--------------------|---------|
                   Let ring

                                 ---------

                                  VERSE 1
(Gtr.1 plays Fig.1 twice, Fig.4 once, Fig.1 once. Gtr.2 simultaneously
plays Fig.2b eight times, but the last chord (A) is replaced by another
(Asus4). I will call this Fig.2c. After this, Gtr. and 2 play the first bar
of Fig.3 twice, but they treat it as a 4/4 bar instead of a 2/4 bar.)


Gtr.1: play Fig.1 four times, but the third time, play Fig.4:

 Gtr.1
 Fig.4                                            End of Fig.4
  +     +     +   +           +     +    +         + 
|---------------------------|--------------------------------|
|---------------------------|--------------------------------|
|-2-------------7~~~--2-2-2-|-2---------------------------0--|
|-2------0h7h9--------2-2-2-|-2-----0h7h9--7-9b(10)r9---7-0--|
|-0--5/7--------------0-0-0-|-0--5/7--------------------5----|
|---------------------------|--------------------------------|

Gtr.2: play Fig.2b eight times, but replace the last two notes of Fig.2
(x02220) by x02235. Call this Fig.2c

Gtr.1 and 2: play the first bar of Fig.3a and 3b twice, ald hold the last
note so that the bar is 4/4 instead of 2/4

                                 ---------

                                  CHORUS
(Gtr.1 plays Fig.5 three times, but the last bar always changes. I call the
first time it is played Fig. 5a, the second time 5b, and the third time 5c.
Simultaneously, Gtr.2 plays Fig.6 three times. Then Gtr.1 sustains the last
note of Fig.5c, while Gtr.2 plays a B chord.)


  Gtr.1:
  Fig.5                                                End of Fig.5
  E               G               D               A
  +       +       +       +       +       +       +        +
|-0---0-0-0-0-0---3---3-3-3-3-3-|-2---2-3-2-5-3-2-0---------------|
|-0---0-0-0-0-0---0---0-0-0-0-0-|-3-------------------------------|
|-1---1-1-1-1-1---0---0-0-0-0-0-|-2-------------------4b(6)r4---2-|
|-2---2-2-2-2-2---0---0-0-0-0-0-|-0-------------------------------|
|-2---2-2-2-2-2---2---2-2-2-2-2-|-----------------------------0---|
|-0---0-0-0-0-0---3---3-3-3-3-3-|---------------------------------|

  Gtr.2
  Fig.6                                              End of Fig.6
  E               G               D               A
  +       +       +       +       +       +       +       +
|-0---0-0-0-0-0---3---3-3-3-3-3-|-2---2-2-2-2-2---0---0-0-0-0-0-|
|-0---0-0-0-0-0---0---0-0-0-0-0-|-3---3-3-3-3-3---2---2-2-2-2-2-|
|-1---1-1-1-1-1---0---0-0-0-0-0-|-2---2-2-2-2-2---2---2-2-2-2-2-|
|-2---2-2-2-2-2---0---0-0-0-0-0-|-0---0-0-0-0-0---2---2-2-2-2-2-|
|-2---2-2-2-2-2---2---2-2-2-2-2-|-----------------0---0-0-0-0-0-|
|-0---0-0-0-0-0---3---3-3-3-3-3-|-----------------0---0-0-0-0-0-|

repeat Fig.5 and 6 two times.

Last bar of Fig.5b: 
  +         +       +       +
|-2-------3-2-5-3-2-0-------------|
|-3-------------------------------|
|-2-------------------4b(6)r4-2-2-|
|-0-------------------------------|
|---------------------------------|
|---------------------------------|

and of Fig.5c:
  +         +       +       +
|-2-------3-2-5-3-2-0-------------|
|-3-------------------------------|
|-2-------------------4b(6)r4-2-4-|
|-0-------------------------------|
|---------------------------------|
|---------------------------------|

Gtr.1: hold the last note, with vibrato

Gtr.2: play:
  +     +     +       +
|---2-2-2-2---2-2-2-2---2-2--|
|---4-4-4-4---4-4-4-4---4-4--|
|---4-4-4-4---4-4-4-4---4-4--|
|---4-4-4-4---4-4-4-4---4-4--|
|---2-2-2-2---2-2-2-2---2-2--|
|---2-2-2-2---2-2-2-2---2-2--|

                                 ---------

                                  VERSE 2
(Gtr.1: play Fig.1 twice, Fig.4 once, Fig.1 once. Gtr.2: play Fig.2c eight
times)

                                 ---------

                                  CHORUS
(Gtr.1: play Fig.5a once, Fig.5b twice, and Fig.5c once. Gtr.2: simultanea-
ously play Fig.6 four times)

                                 ---------

                                  BRIDGE
(Gtr.1 sustains the last note of Fig.5c for 1 bar, and then plays a F#
chord. Simultaneously (starting when Gtr.1 is sustaining the note), Gtr.2
plays Fig.7. Then Gtr.1 plays Fig.8a, and Gtr.2 simultaneously plays
Fig.8b. They repeat this two times, but the last time Gtr.2 only plays the
F# chord in the last bar once instead of several times. Fig.8 is rather
tricky, because the first bar is 7/8 (instead of 8/8), and the second is
4/4).


Gtr.1 holds the last note for 1 bar, with vibrato, and then plays
  +   +   +   +
|-2----------------|
|-2----------------|
|-3----------------|
|-4----------------|
|-4----------------|
|-2----------------|
  Let ring

Simultaneously, Gtr.2 plays
 Fig.7                                     End Fig.7
 +      +     +       +        +   +   +       +
|---7-7-7-7---7-7-7-7---7-7--|-2-------------------|
|---7-7-7-7---7-7-7-7---7-7--|-2---------12-11-----|
|---8-8-8-8---8-8-8-8---8-8--|-3---------11-11-----|
|---9-9-9-9---9-9-9-9---9-9--|-4---------11-11-----|
|---9-9-9-9---9-9-9-9---9-9--|-4-------------------|
|---7-7-7-7---7-7-7-7---7-7--|-2-------------------|
                               Let ring

Then Gtr.1 plays fig 8a and Gtr.2 Fig.8b. In both, the first bar is 7/8,
and the second bar is 4/4.



  Gtr.1
  Fig.8a                            End Fig.8a
  +       +     +      +    +   +   +   +
|-2-2-2-2---2-2-2-2---2-2-|-2----------------|
|-4-4-4-4---4-4-4-4---4-4-|-2----------------|
|-4-4-4-4---4-4-4-4---4-4-|-3----------------|
|-4-4-4-4---4-4-4-4---4-4-|-4----------------|
|-2-2-2-2---2-2-2-2---2-2-|-4----------------|
|-2-2-2-2---2-2-2-2---2-2-|-2----------------|
                            Let ring

  Gtr.2
  Fig.8b                            End Fig.8b
  +       +     +      +    +    +   +     +
|-7-7-7-7---7-7-7-7---7-7-|-6--6-6----6--4-6-4---|
|-7-7-7-7---7-7-7-7---7-7-|-7--7-7----7--7-7-7---|
|-8-8-8-8---8-8-8-8---8-8-|-6--6-6----6--6-6-6---|
|-8-8-8-8---8-8-8-8---8-8-|-4--4-4----4--4-4-4---|
|-9-9-9-9---9-9-9-9---9-9-|----------------------|
|-7-7-7-7---7-7-7-7---7-7-|----------------------|
                            

Repeat Fig.8a and 8b two times, but the last time, in Fig.8b, in the second
bar, just play xx4676 once.

                                 ---------

                               `QUIET PART'
(I think both guitars play the same thing. They are both clean, and I think
a chorus effect is used)


 Gtr.1 and 2 (both clean tone)
 +   +   +  +      +   +   +    +      +   +   + +      +   +   +    +
|--0--0--0----5---|--0--0-------------|--0--0--0---5---|--0--0--0---------|
|--2--0--3------3-|--2--0--3-0----0---|--2--0--3-----3-|--2--0--3-0---0---|
|--0--0--2--------|--0--0--2---2----2-|--0--0--2-------|--0--0--2---2-----|
|--2--2--0--------|--2--2--0---0----0-|--2--2--0-------|--2--2--0---------|
|--0--0-----------|--0--0-------------|--0--0----------|--0--0------------|
|-----------------|-------------------|----------------|------------------|

 Gtr.1 and 2
 +   +   +  +  +   +   +    +   +   +   +  +       +  +   +    +
|--------2----|--------2-------|--------2----2-2-|--------2---2---|
|--4--2--5----|--4--2--2-2-----|--4--2--5----5-5-|--4--2--2-2-2---|
|--2--2--4----|--2--2--4---4---|--2--2--4----4-4-|--2--2--4---4---|
|--4--4--2----|--4--4--2-------|--4--4--2----2-2-|--4--4--2---2---|
|--2--2-------|--2--2----------|--2--2-----------|--2--2----------|
|-------------|----------------|-----------------|----------------|
                                                             
                                 ---------

                                  CHORUS
(Gtr.1: play Fig.5a once, Fig.5b twice, and Fig.5c once. Gtr.2: simultanea-
ously play Fig.6 four times)

                                 ---------

                                GUITAR SOLO
(Gtr.1 plays the solo. Gtr.2 repeats Fig. 6 over and over. Often the tab
does not represent all six strings. In such cases, I name the strings which
are represented).


     +                     +          +           + 
E: |----------------------------------------------------------------|
B: |-15b(17)r15-12--------------------------------------------------|
G: |---------------14b(16)r14-12------12----12-12-12b(14)r12----12--|
D: |-----------------------------14------14------------------14-----|
A: |----------------------------------------------------------------|
E: |----------------------------------------------------------------|

     +                 +               +          +
G: |-14b(16)--14b(16)--14(16)r14-12-14-12~~~~~~~~~~~~~~~~-14/16-16-|
D: |---------------------------------------------------------------|

     +              +                 +              +
B: |----------17----17-17---------------------------------------------|
G: |-14/16-16----16-------19p16-14h16-16-14-12-14-14-12-14-12~~~~~~~~-|

  +           +           +                 +
|---------------------------------------------------0--0-----|
|---------------------------------------------------0--0-----|
|------------------------------------------------------------|
|-14-12------------------------------------------------------|
|-------14-13-12-10-12-10-12b(14)~~~~~~~~~~~~~~~~~-----------|
|------------------------------------------------------------|

     +         +           +                 +
E: |-----------17b(19)~~~--17b(19)r17-15------------------|
B: |-17~~~~~~~---------------------------17~~~~~~~~~~-16--|

     +              +              +            +
E: |----------------15------------------------------------|
B: |-15-17-------------17---------------------------------|
G: |-------16b(18)--------16\14\12-14-12~~~~~~~~~~--------|

     + +   +        +      +       +       +         +
E: |---------------------|-----------0-3-0-3-7~~~~~~~~--12-------|
B: |---------------------|-0-0-3-0-3-----------------------15-12-|
G: |-2b(4)~~~~~2b(4)r2-0-|---------------------------------------|

     +     +        +       +         +    +       +             +
E: |--------------------------------|--------5-7-5-5b(7)r5p3-5-3-------|
B: |------------------3-3-0-5-3---3-|-5~~~-5---------------------5---5-|
G: |-2b(4)~~~-2-0-2/4-----------4---|----------------------------------|

     +       +          +           +
B: |-12---12-----------------------------------|
G: |---------14-12---------12-12-14-14-12------|
D: |---------------14---14----------------14---|

     +           +           +                 +
G: |----12-12-14-12-14-12-14-14b(16)-(16)-(16)-(16)r14--|
D: |-14-------------------------------------------------|

      +              +          +              +
E: |-10/12-12-12-12-10/12-12-12-----15-15-15-12/15-15-15--|
B: |------------------------------------------------------|

      +              +              +
E: |-12/14-14-14-14-12/14-14-14---10/12-12-12-12-10/12-12-12-|
B: |---------------------------------------------------------|

      +              +             +               +
E: |-10/12-12-12-12-10/12-12-12---12/15-15-15-15-12/15-15-15--|
B: |----------------------------------------------------------|

      +          +        +        +
E: |-12-15-12----12-15-12-17---15~~~~~~~-|
B: |----------15-------------------------|

      +        +           +                 +
E: |-17---15------15-----------------------------------|
B: |-----------17----17-17-17-17-15\12-10/12-12~~~~~~--|

     +               +            +        + 
B: |---------------------------------12~~~~--12-12-12---|
G: |-14b(16)r14-12----12-14-12-14-14-12~~~~--12-12-12---|
D: |---------------14-----------------------------------|

     +              +              +                 +
E: |----12----------12----------12----------12----------12----------|
B: |-12----15p12 12----15p12-12----15p12-12----15p12-12----15p12-12-|

     +              +                 +       +
E: |-12----------12----------12-------12~~~~~~~~----0--|
B: |----15p12-12----15p12-12----15p12-------------0----|
G: |----------------------------------------------0----|
  +        +          +        +
|------------------------------------------|
|-14-12~~~------------14-12~~~-------------|
|-14-12~~~------------14-12~~~-------------|
|----------14-12----------------14-12------|
|----------------14-------------------14---|
|------------------------------------------|
  +           +            +           +
|-------------------12-12-----12-12----12-12----12--|
|-14----------------12-12-----12-12----12-12----12--|
|-14---12-----12h14--------14-------14-------14-----|
|---------h14---------------------------------------|
|---------------------------------------------------|
|---------------------------------------------------|

     +              +              +              +
E: |---------15---------15---------15----------15----------15---15--|
B: |---------15---------15---------15----------15----------15---15--|
G: |-14b(16)----14b(16)----14b(16)-----14b(16)----14b(16)-(16)-(16)-|

   +             +          +           +
|--15-----15-15--------------------------------------|
|--15-----15-15--------------------------------------|
|-(16)r14-14-14----12----12-14-14-14-14----14-14-14--|
|---------------------14-----------------------------|
|----------------------------------------------------|
|----------------------------------------------------|

     +         +       +       +
E: |-0---0-0-0-3-0-0-0-5-0-0-0-3-0-0-0-|
B: |-3/5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-5-|

     +         +       +                 +
E: |-0---0-0-0-3-0-0-0-17\12-12-12-10/12-12-10/12-12-12-|
B: |-3/5-5-5-5-5-5-5-5----------------------------------|

     +              +              +              +
E: |-17-12-12-10/12-12-12-10/12-12-12-10/12-12-12-15-12-15-|
B: |-------------------------------------------------------|

     +         +             +         +
E: |-19---17---15-17-15b(16)~~~~----------------------|
B: |-----------------------------17-15----15-17p15----|
G: |-----------------------------------16-------------|

     +         +             +         +
E: |-19---17---15-17-15b(16)~~~~----------------------|
B: |-----------------------------17-15----15----------|
G: |-----------------------------------16----16\14----|

  +           +           +       +
|-------------------12----12~~~---12---12-|
|----------------12----12-----------------|
|-14-12----12-14--------------------------|
|-------14--------------------------------|
|-----------------------------------------|
|-----------------------------------------|

     +              +              +                 +
E: |----12----------12-15p12----12----------12----------12----------|
B: |-12----15p12 12----------12----15p12-12----15p12-12----15p12-12-|

     +           +           +            +
B: |-12-12-12-12-12-12----------------------------|
G: |-------------------15-14-12----12~~~~~~~~~~~~-|
D: |----------------------------14----------------|

     +          +              +        +
B: |-12~~~~~-14-15~~~~-15~~~~--17~~~-17-17~~~~~~--|
G: |----------------------------------------------|

     +          +              +       +                 + + + +
E: |-12~~~~~-14-15~~~~-15~~~~--17~~~~~-19~~17-15-12h15p|-12~~~~~-|
B: |---------------------------------------------------|---------|

Read more...

Stairway to heaven (guitar solo)

Some points about solo -
1. Solo is on Am pentatonic scale
2. Solo has added F note to it, which is absent in Am pentatonic scale...
eg. see the bold note in the tab.

3. Chords behind the solo also have F chord in it...

F note is added when he is playing F chord

Lick1 

|------5------------------------|
|--------8-5--------------------|
|-7b9r-------7-5---7-5----------|
|----------------5-----7-5------|
|--------------------------8----|
|-------------------------------|
Lick2 
---------8--10-|-8-------------------|
----8b10-------|---10-8----8h10------|
---------------|--------10-----------|
---------------|---------------------|
---------------|---------------------|
---------------|---------------------| 
Lick1 type 
|------5-----------------------------------|
|----5---8p5-------------------------------|
|-7b---------7-5---7-5-----------5---5-5p0-|
|----------------7-----7-5---5-7---7-------|
|--------------------------7---------------|
|------------------------------------------|Lick1 type

|-5--------------------------|
|---8-5----------------------|
|-------7-5---7-5------------|
|-----------7-----7h5-7h5----|
|-------------------------8v-|
|----------------------------|

Lick3
|--------------------|-------------------|
|--------------------|----------------13-|
|--------------------|-------12-12h14----|
|-----10h12p10----10-|-12/14-------------|
|-/12----------12----|-------------------|
|--------------------|-------------------|

Lick4.1

|--------------------|-15b-15p13--------------|
|-15b-15p13-15p13----|-----------15br-p13-----|
|-----------------14-|--------------------14--|
|--------------------|------------------------|
|--------------------|------------------------|
|--------------------|------------------------|

Lick4  X11

(start beat for this lick at 13) (r=release after bend)

|------------------|
|-13-15br-p13------|
|------------14----|
|------------------|
|------------------|
|------------------|

|---15b-12-15-12--------------------------------15-------------|
|13--------------15-13----13-15-13----13-15-15b----15br-p13----|
|----------------------14----------14-----------------------14-|
|--------------------------------------------------------------|
|--------------------------------------------------------------|
|--------------------------------------------------------------|



|-----15-17p15-------------------------|
|-15b----------15br-13-15-13----13-15b-|
|----------------------------14--------|
|--------------------------------------|
|--------------------------------------|
|--------------------------------------|



|-------------------------|
|-------------------------|
|-14b-14b-14-12-14-12-14v-|
|-------------------------|
|-------------------------|
|-------------------------|



|-----------------------------|
|-----5-------5---------------|
|-10b---7-5-7---7-5-7-8-7-5---|
|---------------------------7-|
|-----------------------------|
|-----------------------------|


      |- 6 times --|
|-----|--20p17-----|-20b-|
|-/17-|--------17--|-----|
|-----|------------|-----|
|-----|------------|-----|
|-----|------------|-----|
|-----|------------|-----|

Read more...

Black - Pearl Jam

Intro:
E (na sétima casa)- Asus2 (na 7 casa)- 3x -

Asus2

|xoo--o|7
|------|
|---o--|
|----o-|
|------|

Na última parte arraste o dedo na corda 3 na casa 10 até a casa 1:
e--------------------
B--------------------
G--10/2--------------
D--------------------
A--------------------
E--------------------

E               Asus2
Sheets of empty canvas
          E              Asus2
untouched sheets of clay
E                Asus2     
Were laid spread out before me
       E
as her body once did

E           Asus2
All five horizons,
          E             Asus2
revolved around her soul as the earth to the sun
E             A                 
Now the air I tasted and breathed,
    E         
has taken a turn  

     C                                   Em
Oooh and all I taught her was... everything
     C                                  Em
Oooh all I know she gave me all... that she wore
       D
And now my bitter hands
        C
Chafe beneath the clouds
                 Em
Of what was everything
        D                      C
All the pictures have all been washed in black
             Em
Tattooed everything.

  E      Asus2
I take a walk outside
       E               Asus2
I'm surrounded by some kids at play
E                Asus2       
I can feel their laughter
   E      
So why do I swear?
    C                                          Em
Ooh and twisted thoughts that spin round my head
                         C                              Em
Oooh I'm spinning,oh I'm spinning how quick the sun can drop away
       D 
And now my bitter hands
         C
cradle broken glass   
                 Em
of what was everything
        D                      C
All the pictures have all been washed in black
Em
Tattooed everything
       D 
All the love gone bad
          C
turned my world to black
            D
tattooed all I see
         C
All that I am
              Em          D     C
All that I'll beeeeee    yeaahheah

Em    D    C
Hum...uh

  Em                        
I know someday you'll have a beautiful life
  D
I know you'll be a star,
   C                   Em             D
In somebody elses sky, whyhy, whyhy   whyhy
                            C                
can't it be, oh can't it be mine.

Em  D  C...
Tchruruu.... Yeah ... uhh

Read more...

Dil ko tumse pyar hua guitar chords

 Strumming pattern - DUUD on Am,UUD  on Dchord.....
(similarily for others)
---------------------------------------
Am Dm  G C F G C E
Dilko Tumse Pyaar Hua Pehli Baar Hua Thumse Pyaar Hua
Am Dm  G C F G C E
Main Bhi Aashiq Yaar Hua Pehli Baar Hua Tumse Pyaar Hua
D C D C D F C E
Chaayi Hain Betaabi Meri Jaan Kahon Main Kya Karoon
D C D C D F C E
Chaayi Hain Betaabi Meri Jaan Kahon Main Kya Karoon
Am G F E
Dilko Tumse Pyaar Hua Pehli Baar Hua Tumse Pyaar Hua
Am G F E
Main Bhi Aashiq Yaar Hua Pehli Baar Hua Tumse Pyaar Hua

C                                      Am
{Kho Gaya Main Khayalon Mein
C                  D                  Am
Ab Neend Nahin Aankhon Mein
Karvate Bas Badalta Hoon
Ab Jaagta Hoon Main Raaton Mein
Ab Doori Na Sehni Har Lamha Kehta Hain
Na Jaane Haal Mera Aisa Kyon Rehta Hain
Main Deewana Tera Bangaya Jaane Jaana
Main Fasana Tera Bangaya Jaane Jaana
Haseena Gori Gori Churaye Chori Chori
Churaye Dil Chori Chori Chori Chori Chori}I dont Think any Chords are played.But there is one part where there is a little acoustic solo.I will include it by Satursay Or Sunday

{Dilko Tumse Pyaar Hua Pehli Baar Hua
Tumse Pyaar Hua Main Bhi Aashiq Yaar Hua
Pehli Baar Hua Tumse Pyaar Hua}Same As First Time

{Aarzoo Hain Mere Sapnon Ki
Baitha Rahoon Teri Baahon Mein
Sirf Tu Mujhe Chaahe Ab
Itna Asar Ho Meri Aahon Mein
Tu Keh De Haske To Tod Dooon Main Rasmon Ko
Marke Bhi Na Bhoolon Main Teri Kasmon Ko
Main To Aaya Hoon Yahan Pe Bas Tere Liye
Tera Tan Man Sab Hain Mere Liye
Kya Haseena Zara Sama Hai Pyaara Pyaara
Gale Lagale Yaara Yaara Yaara Yaara Yaara}


{Main Bhi Aashiq Yaar Hua
Pehli Baar Hua Tumse Pyaar Hua
Chaayi Hain Betaabi Meri Jaan Kahon Main Kya Karoon
Chaayi Hain Betaabi Meri Jaan Kahon Main Kya Karoon } Same as the first time.

Acoustic Solo

|-----10-12-10-12-10---------------------------|
|--12------------------12-10-----10----9-------|
|-------------------------------12----12----------|
|---------------------------------------------------|
|---------------------------------------------------|
|---------------------------------------------------|

Read more...

Ghar se nikalte hi

Chords
Movie : Papa Kahte Hain
Music Director : Rajesh Roshan
Singer(s) :Udit Narayan

strum - D udu D ud DU
E--------------------G#m---------B------
Ghar se nikalte hi, kuch door chalte hi
E-----------B---------E--
raste main hai uska ghar,

--E----------------
kal subah dekha to
G#m-----B---------E----------B-------E
baal banati vo, khidki main aayi nazar
Ghar se nikalte hi ..


E---------C#m, C#m--------E--
Masoom cheha, neechi nigahain
E----------C#m, C#m--------E--
bholi se ladki, bholi aadayan
F#---------E-,E--B---E------
Na apsara hai,na vo pari hai
B-------------,--E----------
lekin yeh uski, jadoogari hai
E----------------,--G#m-----B--------
deewana kar de vo, ik rang bhar de vo
E-----------B------E--
sharma ke dekhe jidhar.
and then similar chord pattern continues for rest o fthe song.........

Vocal melody

vocal melody
---ghar------------kuch-----------
e------------------------7---------
B------------7-----9-7-9--7--/7---
G--8-9-6-8-9---9----------------9-

--rast--------------------------
e-77--12-11-7------------------
B-------------777-9------------

Melody
ghar se nikalte hi kuch door chalte hi
g m g r g m mg p m m d d d S d p g p m

raste mein hai uska ghar hmm hmm hmm
S S S M G S dp p d S p m

kal subah dekha to baal banaati woh
g m g r g m g p m m d d S p g p m

khidki mein aayi nazar hmmm hmmm hmm
S S S M G S p p dd S p m


Stanza

Masoom chehra neechi nighahe
d n R R R G R d n R S R S

bholi si ladki bholi adaaye
d n G R R G R d n R S R S

na apsaraa hai na woh pari hai
n3 n3 n3 n3 S n3 SS d n S n d d

lekin yeh uski jaadugari hai
d p d p p p p p p g r g m m m m

diwana kar de woh ik rang bhar de woh
g m g r g m mg p m m d d d S d p g p m

sharma ke dekhe jidhar hmm hmm hmm
S S S M G S p p p d d d S p m


Source - IGT

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Guitar Down Tuning

Down tuning is popular in many genres of music, but especially rock and heavy metal, to give your music a deeper crunch. Tuning lower is also good for acoustic/clean playing though, because you can use those vibrant open position chords and get a completely different atmosphere from them.

Tip: If you're going to tune down, you might want to try some heavier gauge strings on your guitar, because the lower you tune, the less tension in the strings. Strings that lack enough tension tend to buzz on the fretboard and can kill tone.

I would say if you're going to tune down more than half a step you should at least use a gauge 10 set of strings (10 being the gauge of the high E string). That's just my opinion though - you might actually prefer the tone you get with lighter strings!

Tip: Don't forget there's also drop tuning, where you simply tune down the bottom string. For help with this, visit the drop tuning page.

Tuning the guitar down half a step / Eb (E flat) tuning

Some guitarists think playing in a flat/sharp key sounds fresher, because we're so conditioned to guitar pop music being recorded in standard E A D G B e tuning. I think there's definitely something in that!...

See, if you played a regular open G chord, it would in fact be G flat or F sharp because of the half step lower tuning. 

Tuning the guitar down half a step without tuning aids

This is useful to know when there's no reference to help match the tuning of your strings to the correct pitch.

Over time, your ear will become more and more accurate in identifying specific note pitches. However, here's a quick and simple way to get tuned...

As we're tuning down half a step (also known as a semi-tone), that's the equivalent of tuning down one fret position, so all we need to do is first get that low E string tuned down to Eb (E flat). E flat can be found on the A string at fret 6. Now your low E string is Eb, and you can use common guitar technique .

Tuning down a whole step / whole tone / D tuning

This tuning allows you to get that low bottom end D in, but as part of standard tuning intervals, so you can form all the chord shapes you're used to, especially open chords, and get that deeper atmosphere. 

EADGBe tuning changes to DGCFAd.

Tip: Just like with standard tuning, when you're trying to match your guitar's string to a string above, you'll hear a sort of oscillating effect, and as you tune closer to the correct pitch, this vibration effect will become slower and slower until you're in tune! You have to listen closely and train your ear to pick this up.

Tip: You can drop tune the low D string down to the same as the C string and you get... Drop C tuning.

Tip: Don't forget those slack strings - if they hang at your ankles after tuning down a whole step, you might want to think about buying some heavier gauge strings.

Tuning the guitar down a whole step without tuning aids

This is useful to know when there's no reference to help match the tuning of your strings to the correct pitch.

Over time, your ear will become more and more accurate in identifying specific note pitches. However, here's a quick and simple way to get tuned...

As we're tuning down a whole step (also known as a whole tone), that's the equivalent of tuning down two fret positions, so all we need to do is first get that low E string tuned down to D. D can be found on the A string at fret 5.

Simply fret the A string at fret 5 and tune down the open low E string until it matches. Even though the fretted D note will be an octave higher than the destination D note on the E string. Once you have done that use standard tuning method.

Read more...