Music/Guitar Tips:-

When writing out any scale or one of its modes, the rule to follow is only use each letter in the musical alphabet, A-B-C-D-E-F-G, once, and don’t mix sharps and flats in the same scale. 

Never double any notes. 
Use sharps or flats but never both in the same scale.
Mixing sharps and flats in Melodic Minor and Harmonic Minor modes is ok as long as it helps you avoid using 2 of the same notes.

Music Theory - Scale,

There are twelve different notes in traditional music: C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, and B. After the B comes the C an octave higher than the first C, and this cycle continues. This sequence is called the chromatic scale.

When you start using these notes on guitar's 6th (Lower) string, which is E. Then it goes E, F, F#/Gb, G, G#/Ab, A, A#/Bb, B, C, C#/Db, D, D#/Eb, and E (octave higher) on 12th fret.

https://www.facebook.com/photo.php?fbid=10151626184884399&set=a.35208389398.41382.739684398&type=3&theater

Tips for Scale;

When writing out any scale or one of it’s modes, the rule to follow is only use each letter in the musical alphabet, A-B-C-D-E-F-G, once, and don’t mix sharps and flats in the same scale. 

Never double any notes. Use sharps or flats but never both in the same scale.Mixing sharps and flats in Melodic Minor and Harmonic Minor modes is ok as long as it helps you avoid using 2 of the same notes.

There are twelve different notes in traditional music: C, C#/Db, D, D#/Eb, E, F, F#/Gb, G, G#/Ab, A, A#/Bb, and B. After the B comes the C an octave higher than the first C, and this cycle continues. This sequence is called the chromatic scale.

When you start using these notes on guitar's 6th (Lower) string, which is E. Then it goes E, F, F#/Gb, G, G#/Ab, A, A#/Bb, B, C, C#/Db, D, D#/Eb, and E (octave higher) on 12th fret.

Intervals :-

The interval between two notes is defined by the number of half steps between them. 

Two notes a half step apart, like C and C#, define a minor second.Notes that are two half steps apart, like C and D, define a major second. This is also called a whole step.Expanding by half steps, the remaining intervals are the minor third, major third, perfect fourth, tritone (sometimes "augmented fourth") , perfect fifth, minor sixth, major sixth, minor seventh, major seventh, and finally, the octave.

Diatonic-Major Scale;All scales are simply subsets of the chromatic scale. Most scales have 7 different notes, although some have 5, 6, or 8. 

The simplest scale, which will be used as an example for the discussion of chords, is the C major scale, which is "C, D, E, F, G, A, B".A major scale is defined by the intervals between these notes: "W W H W W W (H)", where "W" indicates a whole step and "H" a half.Or we find as "T T S T T T S", where "T" indicates a tone (whole step) and "S" a semitone (half).

Thus, a G major scale is "G, A, B, C, D, E, F#", with a half step leading to the G that would start the next octave.

Diatonic-Minor Scale;

1. A minor scale is defined by the intervals between these notes:"W H W W H W W", where "W" indicates a whole step and "H" a half.Or we find as "T S T T S T T", where "T" indicates a tone (whole step) and "S" a semitone (half).

2. The scale consisting of the same notes as the C major scale, but starting on A ("A, B, C, D, E, F, G") is the A minor scale. This is called the relative minor of C major, since it is a minor scale built from the same notes. The relative minor of any major scale is formed by playing the same notes starting on the sixth note of the major scale. Thus, the relative minor of G major is E minor.

Key of Scale;

A piece that is based on a particular scale is said to be in the key of that scale.

For instance, a piece based on the notes C, D, E, F, G, A, and B is said to be in the key of either C major or A minor. The chord progression of the piece may distinguish between the two.

Similarly, a piece based on the notes G, A, B, C, D, E, and F# is either in G major or E minor. If the word "major" or "minor" is omitted, "major" is assumed.

Intro - Ajeeb Daastaan Hai Yeh.

E|--------------|--------------|--------------|

B|--------------|--------------|--------------|

G|-----------2--|--0-----------|-----------2--|

D|-----0--3-----|-----3--0-----|-----0--3-----|

A|--3-----------|-----------4--|--3-----------|

E|--------------|--------------|--------------|

E|--------------|--------------|--------------|

B|--------------|--------------|-----------1--|

G|-----------2--|--0-----------|--------------|

D|-----0--3-----|-----3--0-----|-----0--3-----|

A|--3-----------|-----------4--|--3-----------|

E|--------------|--------------|--------------|

E|-----------|--------------|--------|-----------|-----------|--------|

B|-----1-----|--------------|-----1--|-----1-----|-----------|--------|

G|--2--------|-----------0--|--2-----|--2--------|-----------|--2--0--|

D|-----------|--0--2--3-----|--------|-----------|--0--2--3--|--------|

A|--------3--|--------------|--------|--------3--|-----------|--------|

E|-----------|--------------|--------|-----------|-----------|--------|

E|-----------|--------------|--------|-----------|-----------|--------|

B|-----1-----|--------------|-----1--|-----1-----|-----------|--------|

G|--2--------|-----------0--|--2-----|--2--------|-----------|--0-----|

D|-----------|--0--2--3-----|--------|-----------|--0--2--3--|-----3--|

A|--------3--|--------------|--------|--------3--|-----------|--------|

E|-----------|--------------|--------|-----------|-----------|--------|



Can ask for full song, if needed. 
Thanks.

James Bond Theme

E|----------------------------------------------------
B|----------------------------------------------------
G|----------------------------------------------------
D|----------------------------------------------------
A|--2----2--2----3----3--3----4----4--4----3----3--3--
E|----------------------------------------------------


E|----------------------------------------------------
B|----------------------------------------------------
G|----------------------------------------------------
D|----------------------------------------------------
A|--2----2--2----3----3--3----4----4--4----3----3--3--
E|----------------------------------------------------


E|-----------------------------------------------
B|--------4--3----------0------------------------
G|-----0----------0--3-------0--0----------------
D|--2------------------------------4-------2-----
A|--------------------------------------2-----4--
E|-----------------------------------------------



E|-----------------------------------------------
B|--------4--3----------0------------------------
G|-----0----------0--3-------0--0----------------
D|--2------------------------------4-------1--2--
A|--------------------------------------2--------
E|-----------------------------------------------


Fade out with..........


E|----------------------2--1----------5--4----------7--6--
B|--------4--3---------------------2-------------4--------
G|-----0----------0--3----------3-------------5-----------
D|--2-----------------------------------------------------
A|--------------------------------------------------------
E|--------------------------------------------------------

Relation Between Indian Scale and Western Scale.

Bilawal :- (=Ionian mode): S R G m P D N S'

Khamaj :- (=Mixolydian mode): S R G m P D n S'

Kafi :- (=Dorian mode): S R g m P D n S'

Asavari :- (=Aeolian mode): S R g m P d n S'

Bhairavi P :- (=Phrygian mode): S r g m P d n S'

Bhairav :- S r G m P d N S'

Kalyan :- (=Lydian mode): S R G M P D N S'

Marwa :- S r G M P D N S'

Poorvi :- S r G M P d N S'

Todi :- S r g M P d N S'

Pehla Nasha ( Jo Jeeta Wohi Sikandar ).

Pehla Nasha ( Jo Jeeta Wohi Sikandar ).


Intro: -
E|-------------|-----------------|-------------|-----------------|-------------|
B|-------------|--------1--------|-------------|--------1--------|-------------|
G|-------------|-----------------|-------------|-----------------|-------------|
D|--3----3--3--|--2--3-----3--2--|--3----3--3--|--2--3-----3--2--|--0----0--0--|
A|-------------|-----------------|-------------|-----------------|-------------|
E|-------------|-----------------|-------------|-----------------|-------------|


E|-----------------|--------------|-----------------------|
B|-----------------|--------------|-----------------------|
G|-----------2-----|--0--0--0--0--|-----0--2--0-----------|
D|--0--2--3-----3--|--------------|--3-----------3--2--3--|
A|-----------------|--------------|-----------------------|
E|-----------------|--------------|-----------------------|


E|-------------|-----------------|-------------|-----------------|-------------|
B|-------------|--------1--------|-------------|--------1--------|-------------|
G|-------------|-----------------|-------------|-----------------|-------------|
D|--3----3--3--|--2--3-----3--2--|--3----3--3--|--2--3-----3--2--|--0----0--0--|
A|-------------|-----------------|-------------|-----------------|-------------|
E|-------------|-----------------|-------------|-----------------|-------------|


E|-----------------|--------------|-----------|
B|-----------------|--------------|-----------|
G|-----------2-----|--0--0--0--0--|-----------|
D|--0--2--3-----3--|--------------|--3--2--3--|
A|-----------------|--------------|-----------|
E|-----------------|--------------|-----------|

Rest Verses Available On Demand.

What is MUSIC...?

"MUSIC" or any "ART form", is nothing but a form of "LANGUAGE". 

There is something which you have experienced & have come to know.....or felt something and "words only" are not  enough and sufficient to express, then YOU CHOOSE it to share with others.

Though its difficult but, when you are able (somehow) to make others to show a glimpse even, whatever you have known. Then your words are lost. And then you start using this new language, and it becomes your primary language. You are lost in Music.

Always remember : - You grown with language not with literature. Literature comes later.

Sonota

Sonata by Beethoven.


E|------------|-------------|-------------|---------------|
B|------------|-------------|-------------|---------------|
G|------------|-------------|-------------|---0-----------|
D|------------|---0-----0---|---2--0--2---|------3--2--0--|
A|--3--2--3---|------3------|-------------|---------------|
E|------------|-------------|-------------|---------------|



E|---------------|----------------|----------------|---------------|
B|---------------|----------------|----------------|---------------|
G|---------------|----------------|----------------|---0-----------|
D|---------------|---0--0-----0---|---2--2--0--2---|------3--2--0--|
A|--3--3--2--3---|---------3------|----------------|---------------|
E|---------------|----------------|----------------|---------------|



E|---------------|----------------|----------------|---------------|
B|-----1--1--1---|---1--0---------|----------------|---------------|
G|---------------|---------2--0---|------2--2--2---|---2--0--------|
D|---------------|----------------|---3------------|---------3--2--|
A|--3------------|----------------|----------------|---------------|
E|---------------|----------------|----------------|---------------|



E|---------------|----------------|----------------|---------------|
B|---------------|----------------|----------------|---------------|
G|---------------|---------0------|----------------|---------------|
D|--0--3--3--3---|---3--2---------|---2--0---------|---------------|
A|---------------|------------3---|---------3--2---|---3-----------|
E|---------------|----------------|----------------|---------------|

Baaten Kuchh Ankahee Si.

Baaten Kuchh Ankahee Si.

Verse 01

E|-----------------------------------------------------------------
B|---------------0-------------------------------------------------
G|--2--2------2-----2---------------------------------------------- X 2
D|---------------------4--4------2--4--2--0--0------0-----0--2-----
A|-----------------------------------------------------4-----------
E|-----------------------------------------------------------------    
Baaten    Kuchh Ankahee Si, Kuchh Ansuni Si    Hone Lagin.    
Kaabu     Dil Pe Raha Na,    Hasti Humaari      Khone Lagin.

E|--------------------------------------------
B|--2------2--0--2--3------2------2--0--2--0--
G|--------------------------------------------
D|--------------------------------------------
A|--------------------------------------------
E|--------------------------------------------        
Ho     Ho Ho Ho HO,    Ho     Ho Ho Ho HO.

E|---------------------2---------------------------
B|--2------2--0--2--3-----3------2--2--0--2--0-----
G|----------------------------------------------2--
D|-------------------------------------------------
A|-------------------------------------------------
E|-------------------------------------------------        
Ho     Ho Ho Ho HO Ho Ho,    Shayad Yahi Hai Pyaar.

Verse 02
E|--0---------------0---------------------------------------
B|-----2--3--2---------2--3--2------1--1------1--1----1--2--
G|----------------------------------------------------------
D|----------------------------------------------------------
A|----------------------------------------------------------
E|----------------------------------------------------------    
Keh de mujhse,  dil mein kya hai, aisa bhi kya,   guroor.

E|--0---------------0--2----------------------------------
B|-----2--3--2------------3--2------1--1--1---------------
G|-------------------------------------------0------0--2--
D|--------------------------------------------------------
A|--------------------------------------------------------
E|--------------------------------------------------------   
Tujhko bhi toh,  ho raha hai,    thoda asar,     zaroor.

E|-----------------------------------------------0--0--0--------
B|------------------2--0--2--0----------------------------3--2--
G|----------------------------------1--1------1-----------------
D|--4--4--2--4--------------------------------------------------
A|--------------------------------------------------------------
E|--------------------------------------------------------------    
Yeh khaamoshi,  jine na de,     koi,      toh baat ho $  $.

E|--------------------------------------------
B|--2------2--0--2--3------2------2--0--2--0--
G|--------------------------------------------
D|--------------------------------------------
A|--------------------------------------------
E|--------------------------------------------    
Ho     Ho Ho Ho HO,    Ho     Ho Ho Ho HO.

E|---------------------2---------------------------
B|--2------2--0--2--3-----3------2--2--0--2--0-----
G|----------------------------------------------2--
D|-------------------------------------------------
A|-------------------------------------------------
E|-------------------------------------------------    
Ho     Ho Ho Ho HO Ho Ho,    Shayad Yahi Hai Pyaar.

O Gsus.....Gsus2 and Gsus4.

O Gsus.....Gsus2 and Gsus4.

New Course Structure

Guitar Studio is launching its new compilations of more effective course structure with precise & result oriented lessons. Focusing on Philosophical & Psychological effects on human life through music.

Trade Mark Registration

The name Guitar Studio has got its,

Website (guitarstudio.in),


Blog (visitguitarstudio.blogspot.in),


FB Page (with 283 likes),


FB Group (with 440 adorable members)


Orkut Page.


and now this name & logo got Trade Mark Registration also...:0).

Blues Musician Society (India) & Guitar Studio.

With its roots in the premises of Guitar Studio, Blues Musician Society (India) is a brainchild of Mr. Amit Upadhyay (Director, Guitar Studio). Being a dedicated musician and an avid connoisseur of blues music, Amit has for long been emphasizing on the importance of blues as a genre of music in his sessions.

Blues music has always formed a considerable part in all the sessions, jams and meets conducted and executed by members of Guitar Studio, often with the help of our much respected seniors and valued friends from outside. Before going any further, we would like to discuss the genre as seen through our eyes. Going beyond technicalities, we must take this opportunity to describe our feelings for this stream of music. Blues has often lost its ground under the pressure of more contemporary styles of music. But blues never faded away. Blues cannot fade away. Seldom has there been a life devoid of the feelings that lay the foundation of blues music. Seldom has there been a musician who has not, in times of melancholy, hummed or played a tune which had its origins deep rooted in his/her soul. That tune was blues for sure. John Lee Hooker was once quoted as saying, “Wherever you are, there is no stop and go for the blues. The blues go but it don’t stop”. Blues indeed doesn’t stop, it indeed has no end. It doesn’t have to warrant attention as it is omnipresent, displaying its very own silent but powerful ways. Blues Musician Society (India) was formed with an intent to indulge ourselves into the world of blues music and grow in it to achieve greater levels of understanding of this fascinating stream of music.

Now, it is time to analyze one of the most critical aspects concerning this society – the analysis of where we stand and the direction we want to head towards. As discussed earlier, the appreciation we had for blues confined itself, till recently, to learning the art of playing blues music and conducting jam sessions with musicians known to us. Amit’s association with music aficionados across the country helped those associated with Guitar Studio to interact with them and derive valuable tips regarding the understanding and application of music. As mentioned above, blues music had often been discussed in the sessions conducted. We had often been exposed to newer facets of the genre by experienced musicians and their incisive insights helped us grow. We still are very much into the aforementioned activities, but at the same time, dream of gradually taking these interactions to higher levels, predominantly by increasing our reach. There is a Bengali adage which says “Joto Mot, Toto Poth”, meaning “The number of ways are only as many as the number of opinions”. We appreciate it and therefore, through Blues Musician Society (India), aim to unite blues musicians across the country. We urge you all to share with us your precious comments, suggestions and experiences. Further, we are planning to conduct “Blues Meets” twice a month with members of the society, wherein we all sing, play and have fun. We are making arrangements for these meets in Delhi (and NCR) as of now, and have plans of taking them to other locations across the country in times to come. We are also working on various developmental aspects that we believe will take this initiative forward.

At this juncture, this must be conveyed that all members of Blues Musician Society (India) are as valuable as the group itself. Your valuable inputs have already started pouring in, and truth be told, they have already improved the status of the society. Before summing it up, we would like to share with all the members a famous quote by our very own and much respected Riley “Blues Boy” King, which says “The beautiful thing about learning is nobody can take it away from you”. If we keep this aspect deep-rooted in our minds, the passion for exploring and growing will never subside. So, we all must keep speaking to each other, keep helping each other out, and keep sharing our experiences and thoughts with each other. The quest for learning about this fascinating genre should be unending. Welcome you all!!!!

Various styles of guitar Picking.

1.    Finger picking - is the technique of playing the guitar by plucking the strings directly with the fingertips, fingernails, or picks attached to fingers.

2.    Flat picking – is the technique of playing individual notes with finger or plectrum.

3.    Hybrid picking - is a guitar-playing technique that involves picking with a plectrum and one or more fingers alternately or simultaneously.

4.    Pattern picking - is the use of "preset right-hand pattern[s]" while fingerpicking, with the left hand fingering standard chords.

5.    Alternate picking - involves a continuous down-up or up-down motion of the picking hand, used only by plectrum users.

6.    Sweep picking - is almost exclusively applied for arpeggios.

7.    Tremolo picking - in which a single note is played repeatedly in quick succession.

Guitar Basics

Guitar Basics

Guitar - The guitar is a musical instrument of the chordophone family, being a stringed instrument played by plucking, either with fingers or a pick.

Spanish       - The Classical Guitar, also known as the "Nylon String Guitar" — is a plucked string instrument. It typically has 6 nylon strings (the 3 bass-strings additionally being wound with a thin metal thread). The classical guitar is well known for its comprehensive finger picking technique, which enables the solo rendition of melody, multi-voiced harmony and polyphony (in much the same manner as the piano can). The modern classical guitar is usually played in a seated position, with the instrument resting on the left lap - the left foot is usually placed on a footstool. Alternatively - if a footstool is not used - a guitar support can be placed between the guitar and the left lap (the support usually attaches to the instrument's side with suction cups).

Hawaiian - A lap slide guitar is a general term often used to describe any guitar played on the lap with steel.

                                           Versions

Acoustic - The body of the guitar is hollow. The vibrating strings drive the soundboard through the bridge, making it vibrate. The soundboard has a larger surface area and thus displaces a larger volume of air, producing a much louder sound than the strings alone.

Electric - An electric guitar is a guitar that uses the principle of electromagnetic induction (Pickups) to convert vibrations of its metal strings into electric signals. Solid body instruments are generally made up of hardwood with a lacquer coating.

Semi Acoustic - Some steel-string acoustic guitars are fitted with pickups purely as an alternative to using a separate microphone. They may also be fitted with a piezoelectric pickup under the bridge, attached to the bridge mounting plate, or with a low mass microphone (usually a condenser mic) inside the body of the guitar that will convert the vibrations in the body into electronic signals.

Strings

A string is the vibrating element that is the source of sound in string instruments,

Thick             6       5       4       3       2       1         Thin

Lower              E       A       D       G       B       E       Higher

Standard Tuning

GUITAR

GUITAR
The guitar is a musical instrument with ancient roots that is used in a wide variety of musical styles. It typically has six strings, but four, seven, eight, ten, eleven, twelve, thirteen and eighteen string guitars also exist.
Guitars are recognized as one of the primary instruments in flamenco, jazz, blues, country, mariachi, rock music, and many forms of pop. They can also be a solo classical instrument. Guitars may be played acoustically, where the tone is produced by vibration of the strings and modulated by the hollow body, or they may rely on an amplifier that can electronically manipulate tone. Such electric guitars were introduced in the 1930s and continue to have a profound influence on popular culture.
Traditionally guitars have usually been constructed of combinations of various woods and strung with animal gut or more recently, with either nylon or steel strings. Guitars are made and repaired by luthiers. There are many brands of guitars, but some commonly known brands are PRS, Gibson, Dean, Gretsch, Ibanez, Martin, Jackson, Schechter, and Fender.
History
Before the development of the electric guitar and the use of synthetic materials, a guitar was defined as being an instrument having "a long, fretted neck, flat wooden soundboard, ribs, and a flat back, most often with incurved sides". Instruments similar to the guitar have been popular for at least 4,000 years. While today's classical guitar first appeared in Spain, it was itself a product of the long and complex history that saw a number of related guitar types developed and used across Europe. The roots of the guitar can be traced back thousands of years to an Indo-European origin in instruments, and then known in central Asia and India. For this reason the guitar itself is distantly related to instruments such as the tanbur and sitar, and the Indian sitar. The oldest known iconographic representation of an instrument displaying all the essential features of a guitar being played is a 3,300 year old stone carving of a Hittite bard.The modern word, guitar, was adopted into English from Spanish guitarra (German Gitarre, French Guitare),^[4] loaned from the medieval Andal usian Arabic qitara, itself derived from the Latin cithara, which in turn came from the earlier Greek word kithara, a possible descendant of Old Persian sihtar.

Illustration from a Carolingian Psalter from the 9th century, showing a guitar-like plucked instrument.

The modern guitar is descended from the Roman cithara brought by the Romans to Hispania around 40 AD, and further adapted and developed with the arrival of the four-string oud, brought by the Moors after their conquest of the Iberian peninsula in the 8th century.Elsewhere in Europe, the indigenous six-string Scandinavian lut (lute), had gained in popularity in areas of Viking incursions across the continent. Often depicted in carvings c. 800 AD, the Norse hero Gunther (also known as Gunnar), played a lute with his toes as he lay dying in a snake-pit, in the legend of Siegfried. By 1200 AD, the four strings "guitar" had evolved into two types: the guitarra morisca (Moorish guitar) which had a rounded back, wide fingerboard and several sound holes, and the guitarra Latina (Latin guitar) which resembled the modern guitar with one sound hole and a narrower neck.




The Spanish vihuela or "viola da mano", a guitar-like instrument of the 15th and 16th centuries is, due to its similarities, is often considered an important influence in the development of the modern guitar. It had lute-style tuning and a guitar-like body. Its construction had as much in common with the modern guitar as with its contemporary four-course renaissance guitar. The vihuela enjoyed only a short period of popularity; the last surviving publication of music for the instrument appeared in 1576. It is not clear whether it represented a transitional form or was simply a design that combined features of the Arabic oud and the European lute. In favor of the latter view, the reshaping of the vihuela into a guitar-like form can be seen as a strategy of differentiating the European lute visually from the Moorish oud. Meanwhile, the five string renassance guitar and the baroque guitar enjoyed popularity, especially in Italy and France, and indeed, much of Europe from the 15th to the 18th centuries.
The Vinaccia family of luthiers is known for developing the mandolin, and may have built the oldest surviving six string guitar. Gaetano Vinaccia (1759 – after 1831) has his signature on the label of a guitar built in Naples, Italy for six strings with the date of 1779. This guitar has been examined and does not show tell-tale signs of modifications from a double-course guitar although fakes are known to exist of guitars and identifying labels from that period.
The dimensions of the modern classical guitar (also known as the Spanish guitar) were established by Antonio Torres Jurado (1817-1892), working in Seville in the 1850s. Torres and Louis Panormo of London (active 1820s-1840s) were both responsible for demonstrating the superiority of fan strutting over transverse table bracing