5 Easy Ways To Make Your Music Interesting


Blues-Rock Lick

Another blues-rock lick for your guitar repertoire.

Below is the tab for this lick, divided into sections. You’ll notice that Fig 1 is repeated in bar 3. I’m playing this at 100bpm, so I’d recommend playing slower than this at first, (it’s fine to play at any speed to begin with, no matter how slow, then work your way up to 100bpm, maybe even up to 130bpm.)


Here’s a backing track for this exercise, but a bit faster than I’m playing it in the vid.

Circle Of Fifths Part 1: Creation

In this lesson I examine how the Circle Of Fifths is created, and offer some ways to commit it to memory.

Below is a printable image of the Co5s, I strongly encourage you to print it out and put it somewhere you spend ages looking – above your bed, next to a bathroom mirror, etc.


In the next lesson, I’ll be examining some cool song-writing tips using the Co5s. You can find that lesson here.

Arpeggios 1 – Maj, Min & Dim Triad Arpeggios

Arpeggios form a neat middle-ground between chords and scales – you’ll be voicing chords in a manner similar to playing a scale. Today we’re going to cover the three different triads that appear in the Major Scale. A Tonic Triad, as you should know, is built by stacking thirds in your given scale, so the formula for each is as follows:
Major:              R          3        5
Minor:              R        m3      5
Diminished:     R        m3      b5
In each of these we start with our root note, (the 5th fret on the E string), and then play the third. In the case of A Maj this is the 4th fret on the A string, but the 8th fret of the E string for the other two. Our fifths are on the 7th fret of the A string, but flattened to the 6th fret for A Dim. All our Octaves are on the 7th fret of the D string.
We’re playing all of these arpeggios in A, which should allow you to see the differences between each triad. As with scales, it’s important to keep to the one-finger-per-fret rule.

           Well, now what? I’d suggest trying out each of these in various positions on the neck, remembering that they are moveable shapes, (you can play them rooted on the A string as well).
Once you’re happy you can move them around a bit, try applying them to the Nashville Numbering System and see if you can play arpeggios for every chord within a given key using both the E and A string as roots.