If you Meet Jimi Hendrix Or The Buddha On The Road; Kill Them Both!

The Great Buddhist master Lin-chi once said: “If you meet the Buddha, kill him”. An iconoclastic riddle that is engineered to bring a sense of  originality in the thinker, Lin-chi goes right for the heart of a fatal habit that many people do: make deities out of celebrities.

In his time, the Buddha was a celebrity to every young aspiring monk and there was a bit of a cult of personality that eponymously  followed the man. However, the Buddha was a real person who walked this earth and came up with his own ideas about the nature of the mind, life, & death and can only be relevant to the criteria of his life’s version of truth. Lin-chi’s words were not psychopathic advice meant to inflame the youth, it was advice that was meant to keep the mind from wandering into ignorance though devotion.

I say the same thing about all of the modern heroes of guitar: If you meet them in practice, kill them! That’s right, destroy them in your mind as soon as the image is made and keep repeating this little mental exercise until you are free from the tyranny of comparison or divine adoration.Moreover, these thoughts start to fester and then the nasty part comes out: the comparisons of relevant artists to legends from a golden age. You see these posters all over the place with the same hipster jargon about how its a tragedy that artists A only made $X and sell out artist B makes double that or got more awards than artist A and quite frankly, it all needs to end. This type of behavior does not relate to practice or learning anything and it does not engender a proper space for studying any of these said legends.

Learn with an unfettered mind and move into the future without clinging to the past and your guitar playing will be set free. Sorry no tabs for this lesson, the message is more important

5 Riffs To Get To Know The Harmonic Minor A Little Better

From Metal to Gypsy Jazz, the Harmonic minor is a scale that can transform your playing into tame little baby riffs into deep and vicious whirlwinds of Arabic sands and Gypsy violins.

Here is a voicing of the scale:

 Here is the list, get your guitar ready

5. Slap and Tickle

4.  Johann Sebastian Buckley

3. Tremolo and the Djinn of Grappeli

2.  Hey good lookin you got Hummus cookin

1. Sweeping out the harmonic

There you have it!

Beginner Tuesday: Planes, Trains, & Pentatonic-mobiles Pt 1

Suddenly A Wild Major Scale Approaches:

Blues is a style of music that can be played in major and minor; today we will look at the (most famous) minor expression. However, how do we go from the major scale:

I-ii-iii-IV-V-vi-vii into the final expression: I-biii-IV-bIV-V-bvii-vii?

First, let us pretend that we come across a major scale in the wild and then we work on turning it minor:


Pentatonic to Gin and Tonic:

Count the amount of notes on the current incarnation of the scale right now: its 7 notes (heptatonic). Lets prune out the ii and the bvii to form this:


This is now what is known as the ubiquitous Penta(5)tonic(note) scale and for many, this becomes the final stop in the pursuit of the blues. However, this is just the skeleton or the blueprint of the house, the function of the space and the rest will be expanding on this to represent the decorations and appliances of the house which makes it livable.

Can we start to play blues from here? Yes, but I want to give you a little more before we talk about using the pentatonic for playing blues.Now that we have established a building, lets turn that building into 2 stations between 2 octaves and a train to shuttle between them:


So now we have two stations and a train, this is one of many ways to attack this scale pattern and we will be adding more to it soon. 

Here is a practice riff to help navigate this concept:

Passing Tones

If you look at the intervals of the scale, you’ll notice that there are spaces in between each notes that sometimes skip the original formation of the minor scale. Let’s fill in some of those gaps :

This is now what we could refer to as the “blues scale” because of the addition of passing tones ( filled in notes ) or blue notes.

So now there you have it, the evolution of the major scale to the blues scale, but what about a  practice lick using the staions concept:

Let’s concentrate on these passing tones, if we start on one these using the station 1-train-station 2 formula your playing will sound a little more rich and “real”.

This isn’t the end-all of blues scale playing but it is a good start into thinking outside the box and attempting to try a more “alive sound” with your guitar. Practice some more and make your own combinations out of this lesson.

PT 2 is here