Free Guitar Lessons

Steve Vai Guitar Lessons

Double-stops are two notes, played simultaneously. In this lesson I will show you several examples of how to achieve this.

Next time, when, playing and you are at a deadlock, try to use double-stop. Descending mediants are also good. For example, you in E mixolydian (E, F #, G #, A, B, C #, D) begin with C # on string D and E on G. Then you move with parallel diatonic mediants. This means that you play the intervals: both major and minor of mediant, remaining in E mixolydian. Moving downward on the neck, your following notes will be B and D, then A and C #, and so on.

If you during three-four hours will play mediants and nothing more – you’ll find many interesting things. Try to muffle intervals with your right hand, to jump through octaves, and so on.

After you will master mediants, go on with quarts, the fifth, the sixths, seventh and octaves. Though you will conduct some of your time, mastering all this, but, believe me, your efforts won’t be in vein.

Another similar method is to play triple-stops. It is effective when playing chords. Play diatonic triad on three upper strings and move to the parallel diatonic. For example, if in key E you played B minor triad, then the next must be triad E (E, G #, B), then D (D, F #, A)

When playing these chords, you must think only of one thing - as to solve them. Experiment!

If you do not know the names of these chords, then try to learn and memorize them.

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For the first time ever Steve Vai have done a tour of Russia and the
Ukraine where he conducted three evening master class clinics, and
three daytime in-store autograph sessions.

The tour was a big success. This was the most helpful and emotionally
pleasant guitar clinic I ever seen before. Steve was able to get that
perfect balance between music and talks. The genius has developed
serious topics out of simple questions. He was always in contact with
the audience. Steve played both, his composed music and spontaneous
improvisations too. He was able to make clear for us and illustrate
how he is composing music that’s coming from inside.

Very deep self-reflection… it is incredible, when the musician does
not say something like “well, I just listen to radio and - ah! -
create a melody…” No! Steve looks deep inside himself to analyze his
inner world to create his masterpieces. When you get it mixed with
live sound, concert atmosphere, his words come right into your mind,
into your heart. I mean, everyone can understand what he’s talking
about.

What can I say, it is useless to copy Steve Vai!

I wanted to make a video record of For the Love of God, in order to
get something useful for myself from it later… But then Steve told
the audience how his music was created. Sometimes, he finds an image
or situation and tries to “sound” like this image to imitate it.
Sometimes, people around him and relationships can give birth to his
music. Sometimes he just play exercises and chord progressions,
trying to hear and find out something new. Sometimes he’s singing
along with chord progression and record himself, then finding
interesting ideas.

But the most beautiful music is created, when he is listening with his
“inner ear” - something, that is very personal and sounds in his mind.
Combining all the above with Steve’s playing For the Love of God,
Crying Machine and Lotus Feet that evening, I have suddenly realized,
how useless video can be. There is only personal behind those sounds.
Steve’s music will remain his music.

Another ideas was delivered to the audience is the following. We all
are occupied with our problems and everyday routine. Those 24 hours
isn’t enough to learn everything in music and guitar, or even 50% of it.
The deeper you go, the more unexplored lands you can see. But every
and each of us can and must learn how to hear and feel what’s going on
in our inner world, to take it out in form of sounds, music, and to
express ourselves but not necessarily those speed licks or arpeggios -
this is what I AM, and this is MY music… it doesn’t matter sometimes,
how good or bad it is… it doesn’t matter if anybody else need this
music… first we need it ourselves.

Yuri Nikitin
Ibanez guitars fan.
Ibanez Guitars

This lesson is dedicated to the construction of chords for completing your chords knowledge. I assume that all chord forms, which you will meet in this short lesson, you will write down and you will memorize.

Here’re some experiments in order to supplement your chords knowledge. Begin to play any chord, which is familiar to you. Then move any finger upward or downward on the neck. If this sounds well, then you must memorize and write down this chord. You can even compose any song, using it. If it sounds badly, move another finger. So, millions of chords, which you can build thus! Here are some of them.

Begin to play chord D barre in the 5th position. It consists of the notes: D, A, D and F #. Let us lower F # to E, thus we’ll get chord E2. Changing positions of fingers you should search for the most convenient fingering.

Let us now raise A to B. This chord is called D (6/9). Add A on top and lower D on string G to C #. This would be Dmaj7(6/9). Add B in bass. This makes it Bm11. It’s possible to continue to infinity.

Another idea is in playing of chords, which are being the most movable in different positions. For example, play E on string D on the 12th fret by the 3rd finger. B on string B by the 1st finger and F # on string E by the large finger - this is one of my loved Hendrix like chords.

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