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Diving in the net, I found this metronome:

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Metronome jazz chords (I)

In today's example, I work I usually play a song ("Hello Dolly"), the repertoire of Louis Armstrong.
The introduction is composed of the following chords: D7 / 9 and G7 for three measures, then proceed with Cmaj7, Ebdim, G7 and Cmaj7 resolved. The pace that makes the guitar between chords and notes mimics You can hear the banjo in the original. The chords Cmaj7, Ebdim, G7 and Cmaj7 describe a descending chromatic chord-melody (sol-fa #-fa-mi). The Ebdim D7 is a replacement chosen by having a sound that matched the style of traditional jazz (the replacement is widely used by diminished dominant chord).
The following are the opening bars of the vocal part. Both chords (Am7 Cmaj7 and) have the same rhythmic motif, mimicking the walking bass that would make a piano, ending with two octaves that resolve to the tonic chord from a half step down (si-do for the first G #-la for the second). Use a single scale (blues minor scale of A) it is: A, C, D, Eb, mi, sol. As the scale of C major that I apply in Cmaj7 is on the lower level to use on Am7, it is okay to use the same scale for both chords. About
Cmaj7 is: do-re-mib-mi-sol-la-si-do
About Am7 remains: the-si-do-re-mib-mi-sol-la
# In the latter added the if as a passing note of the scale, to have more cohesion with the bass line before (start the two with tonic-ninth).
I send the video (casero. ..) where they will listen to all the topic, including this part.

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Maldita pentatonic (I)

first thing we learned as guitarists rock, pop , jazz and the like to play for improvising, scales are called "pentatonic ." The direct effect is provided, and the lack of sensitive notes (mi-fa, si-Do, that is separated by a semitone), lack of "touch" when unpretentious melodic.
So the first thing we do is modify them briefly and add to your swilling formula (t, b3, 4.5, b6, b7)-in the case of minors, a 5 th flat, forming scale blues (t, b3, 4, b5, # 5, b6, b7). And so on, reaching the diatonic, chromatic, symmetrical, and other herbs that you can think of ...
Sometimes these "expansions", we also end up looking boring and uncreative, so I intend to return to the minimalist approach the pentatonic . We can make a big change from what I-and some more, called "pentatonic altered." Consider the example in a common enough progression -A7 Am (Im -I7) (eg .1):

(I recommend click on the picture to see it better)
In first case, we use the pentatonic that would play by "default " ie Am pentatonic of (la, do, re, mi, sol) and A (A, B, # C, E, # F). Pretty bland for my taste.
In the second (blue), all we do is to alter the third level of the minor scale (do for Am scale) and took him to a third-grade scale (# do for the scale of A .) This example creates a sense of fluency and coherence between the two grounds of scale, giving greater continuity to what we hear.
Thus, we can generate other scales from Am, as
la, do, re, bmi,
the sun, if (dob), re, mi, sol
or can alter the tone:
sib (# la), do, re, mi, sol
Browsing the infinite range of possibilities, find other ways to resolve scales progressions without resorting to complicated.
For example: how to solve a progression IIm-V7-I? Am =
on the , do, re, mi, sol
on D7 = la, do, re, mi, fa # (Solbes)
on G = if (dob), re, mi,
sun must also pay attention to the tonic of each chord, on the "axis tonal" to the notes in bold.

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Notes pedal (II) Notes

saw in the previous cases as low note pedal notes (low) or high note. In both cases, the effect of pedal note was achieved through a long note against other short form of melody.
The following case, the song "berimbau" (Vinicius, Baden Powell), shows a double pedal note with a 6 th in D tuning (Ex.1):

That, in fact they are three notes, re re, where re is eighth. Chords, given the trend in the pedal note, and would be Dm7 G / D Another area
more "rock" where we can find notes on a pedal would thrash-metal album, as the following example of Metallica, on the theme "Seek and destroy" (Ex.2):
And actually
would not be exaggerating in that 90% of disks thrash-metal based his compositions on those notes pedal, like a "crush" (ie, off the strings with the palm of the hand, slightly above the bridge) ... sometimes carried to extremes intricate and dizzying, as the appointed and Megadeth. Pedal note here does not resonate in unison with the other notes (imagine that with this level of distortion does not distinguish anything), but is used as a note of support (or "pie", hence the term "pedal") to all notes, creating the illusion of resonance.

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pedal (I)

pedal notes are a resource regularly used in both popular music and classical music. Generally give a feeling of static on which to pass other parts of a more dynamic. An instrument pedal notes issued by definition, would be a bagpipe, which emits a pedal note character through a long tube, while another tube with holes like a flute, is responsible for issuing melodies on it. In
guitar, pedal notes generally allocated to the open strings, for the facility to keep playing and do different fingerings in the rest of the strings. In Ex.1 see a simple case of melody and pedal note:

The note my grave, gives a sense of tone, which together with the melody that makes us think we see in E minor chord. In general, pedal note refers to the keynote when it comes to the key of a song. Another case, but less clear is given in "Blackbird" by Lennon and McCartney (Ex.2):


Here the selected note is sun on the third string open, which is maintained throughout the song. The issue is written in G major, but that note sun not being the lowest note, is acquiring a different character to the changes of low (bass note). In the first bar, first time, the sun meets the note G chord, but the latter acts as seventh Am, forming unAm7, the third time back to the tonic with a G / B and G continues in the second compass.

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Tips for tuning

is always best to do without a tuner, the guitar is an instrument to be semitemperado (Tempered is a piano, a violin is not tempered, we are a "halfway"), requires a lot of our ear to be tuned and give a touch of precision (or "fine tuning", as they like ...). Relying on a tuner is not good, because when you forget what you make it impossible to tune due to the loss of habituation and auditory training in terms of heights and their relationships. It is useful to have a reference height (A = 440), but then the work we do on our own. What say!, It is not necessary for that, and now we will see.
For us to tune in A = 440, just pick up the phone and listen to what we commonly call the "tone", ie the eternal "tuuuuu" emitted by the device. Then let the other strings, repeating the familiar formula:

• the fifth box of MI, is a
• the fifth box on, it is a re
• re the fifth box, is a fourth sun
• box of sunshine, is a
• if the fifth box on whether it is one my

So far, so familiar story, but we'll see is not always effective this first "approach" to the scene of the pitch, so we must follow:

Checking
• IM eighth in the second box
• re re checking the eighth in the third box
• checking whether the octave of MI in the seventh box on
• checking the octave of the second box of
• sun sun checking the eighth in the third box of my

and adding more security to the following harmonics:

• fifth fret in MI with seventh fret on the fifth fret
• the seventh fret with re
• fifth fret in D with seventh fret in G
• seventh fret in MI with air if
• fifth fret in MI with my air

After of this procedure with the expertise of a trained ear growing (in addition to a guitar properly calibrated indispensable ), your instrument sound better tuned in terms of scales, chords and everything we touch.