Guide To Play Guitar

The Beginner’s Guide to Learning the Guitar in 60 Days

Whether you’re young or old, there’s no better feeling than learning to play an instrument. While many attempts to learn the guitar, it is unfortunately very common for beginners to give up after only a couple of months. Guitar lessons with an instructor can be expensive and it can be frustrating if you’re not seeing progress immediately. That’s where ChordBuddy steps in, offering one of the easiest and quickest ways to learn to play the guitar in 60 days or less. Simple, effective, and affordable, this guitar learning device has shown great success among beginner guitar players of every age. Use this handy guide to learn everything you need to know as a beginner guitarist. You’ll be playing your favorite song in no time at all!

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Stop wishing. Start playing. Our free guide will teach you to be a master musician in just 60 days. Get yours now – and save 10% on your next purchase!

Common Guitar Myths and Misconceptions

There are many misconceptions about learning how to play the guitar, many of which have hindered individuals from picking up an instrument they’ve always dreamed about playing.

After years in the industry, we’ve heard plenty of reasons that people put off learning to play the guitar. Here are some of the most common guitar myths and misconceptions:

“I’m too old to learn an instrument!”
“I don’t have the time to learn to play the guitar.”
“Physical limitations will get in the way of my ability to play the guitar.”
“I can’t play the guitar left-handed.”

The Truth About Learning The Guitar with ChordBuddy

AGE CAN’T HINDER YOU – Working off of muscle memory and visual assistance, ChordBuddy is designed for players of every age. In fact, ChordBuddy is well-suited for those looking to play guitar with arthritis, offering a pain-free method of playing your favorite song. Utilizing ChordBuddy also allows you to learn the guitar on your own, eliminating the need for long guitar lessons with an instructor, which can result in prolonged joint pain.

LEARN TO PLAY ON YOUR TIME – While signing up for weekly guitar lessons may not be feasible, ChordBuddy allows you to learn how to play guitar chords on your time in the comfort of your home or school. That means you can play first thing in the morning, during lunchtime, or even in the middle of the night. Whatever works for you!

ANYBODY, OF EVERY ABILITY, CAN PLAY – Designed for every type of learner, ChordBuddy includes modifications that allow individuals of every ability to successfully learn a new instrument. Perfect for use in the music therapy, home, or school setting, ChordBuddy can help individuals learn to play the guitar flat or with two people at a time, making for what is an all-around therapeutic experience.

RIGHTY, LEFTY, DOESN’T MATTER – ChordBuddy offers a great way to learn how to play guitar for left handed beginners. This guitar learning device is available in both right-handed or left-handed options, making for a device tailored to your needs.

Buying A Guitar For Beginners

First things, first. Before you begin your journey of learning the guitar, you’ll need the instrument! While much of your decision will be based on personal preference, there are some key factors to consider when buying a guitar as a beginner guitarist:

Price
Style
Player Age/Size
Guitar Condition
Where You’re Purchasing

WHERE TO PURCHASE

As a beginner, it is best to avoid making a pawn shop, flea market, or yard sale purchase unless you are shopping with somebody who has experience in purchasing a guitar. Having never purchased a guitar, you may not know what to look for in terms of damage or guitar quality. With that being said, a local music retail shop is your best bet. You may also shop online with a reputable company, although be sure to review the business’ return policy.

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PRICE OF GUITAR

While some suggest that a great guitar can cost you between $300 and $500, there are plenty of quality guitars available within the $100 to $200 range. Additionally, there are many “package” options that include not only the guitar, but also essential accessories, such as a tuner and gig bag

ELECTRIC VS ACOUSTIC VS CLASSICAL GUITAR

Though this decision can be based on preference, we think the best guitar for a beginner is the acoustic guitar. Classical guitars have a wider neck, which can be hard for younger students or physically smaller individuals to handle when learning guitar chords. Meanwhile, the electric guitar is designed to be played with an amplifier, which comes at an additional cost. Acoustic guitars are simple and require little to no additional equipment, making them ideal for beginner guitarists.

CONDITION OF GUITAR

There are numerous things to look for when purchasing a guitar. If purchasing a brand new guitar, these issues likely won’t be a concern, but they are worth checking for. Here are some steps to follow as you check the condition of a guitar:

1.) Slowly run your hand up and down the length of the guitar’s neck, as pictured below. It should be smooth, with no sharp edges or splinters.

2.) Turn the guitar over and check its heel, as indicated in the photo below. There should be no cracks or gaps between the guitar’s heel and neck.

3.) On the front of the guitar, check the bridge, as pictured below. Run a thin pick between the bridge and the body of the guitar to ensure there are no gaps.

4.) Check the guitar’s string height by pressing down on the first, second, and third fret. You should be able to do so with minimal effort. Come to the 12th fret and press down. The distance from the top of fret to the bottom of the string should be no more than three times. If it is five times, the guitar may have a warped neck or too high of a bridge.

How to Play Guitar Chords

In order to play your favorite song, you’ll need to learn guitar chords. Use the images and instructions below to learn how to play each chord. The ChordBuddy device can be used for assistance in knowing where to place your fingers In the images the circles represent where you will be placing your fingers (I=index, M=middle finger, R=ring finger, P=pinky). The X’s represent strings that you will not be strumming while the O represents strings that will be played without any frets.

HOW TO PLAY THE D CHORD

Place your index finger on the third string at the second fret, your middle finger on the first string at the second fret, and your ring finger on the second string at the third fret.
Leave the fourth string open.
Strum the bottom four strings.
Pay attention to the sound. That’s the D-chord!

HOW TO PLAY THE C CHORD

Place your index finger on the second string at the first fret, your middle finger on the fourth string at the second fret, and your ring finger on the fifth string at the third fret.
Leave the first and second strings open.
Strum the bottom five strings and you’ll hear the C Chord!

HOW TO PLAY THE G CHORD

Place your middle finger on the fifth string at the second fret, your ring finger on the sixth string at the third fret, and your pinky finger on the first string at the third fret.
Leave strings two, three, and four open.
Strum all strings. That’s the G Chord!

HOW TO PLAY THE E-MINOR CHORD

Place your middle finger on the fifth string at the second fret and your ring finger on the fourth string at the second fret.
Leave strings one, two, three, and six open.
Strum all strings. That’s the E-minor Chord!

There you have it! Practice these chords and you’re well on your way to playing the guitar.

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Guitar Basics For Every Beginner

Now that you’ve learned how to play guitar chords with the help of ChordBuddy, you’re well on your way to learning how to play your favorite songs. In addition to helping beginners learn how to play guitar chords, ChordBuddy can help you learn essential guitar basics such as…

Once you feel comfortable with playing guitar chords, you can begin to move on to something more challenging—songs! ChordBuddy makes the process as simple and efficient as possible. Simply take off the colored tabs as you progress until you’re able to play without the device.

December 21, 2017May 7, 2020

Beyonce: Album Review

What does it mean for Beyoncé to drop a new surprise album on the world within days of a giant like Prince leaving us? It’s a welcome reminder that giants still walk among us. Lemonade is an entire album of emotional discord and marital meltdown, from the world’s most famous celebrity; it’s also a major personal statement from the most respected and creative artist in the pop game. All over these songs, she rolls through heartbreak and betrayal and infidelity and the hangover that follows “Drunk In Love.” Yet despite all the rage and pain in the music, she makes it all seem affirming, just another chapter in the gospel according to Beyoncé: the life-changing magic of making a great big loud bloody mess.

There’s nothing as blissed-out on Lemonade as “XO” or “Countdown” or “Love On Top” – this is the queen in middle-fingers-up mode. When the first four songs on an album add up to “you cheated on me and you will pay,” then there’s a country song about her daddy teaching her to solve her problems with a gun, it’s hard not to believe Mrs. Carter might mean it when she sings about regretting the night she put that ring on it. Whatever she’s going through, she’s feeling it deep in these songs, and it brings out her wildest, rawest vocals ever, as when she rasps, “Who the fuck do you think I is? You ain’t married to no average bitch, boy!” She’s always elided the boundaries between her art and her life – especially since she really did grow up in public. But by the time she gets around to telling her husband “Suck on my balls, I’ve had enough,” there’s an unmistakable hint that Jay-Z might be living the hard-knock life these days.

Beyoncé dropped Lemonade on Saturday night right after her HBO special – one of those “world, stop” moments that she’s made her specialty. But the public spectacle can’t hide the intimate anguish in the music, especially in the powerhouse first half. She begins as a supplicant in “Pray You Can Hear Me,” alone with her wounded heart, and then explodes in “Hold Up,” which takes the staccato strings from Andy Williams’ Vegas-crooner classic “Can’t Get Used To Losing You” and a chorus hook from the Yeah Yeah Yeahs’ NYC punk ballad “Maps” (“They don’t love you like I love you”), with a Soulja Boy coda, as she mourns a husband who let all her good love go to waste.

Lemonade is her most emotionally extreme music, but also her most sonically adventurous, from the Kendrick Lamar showcase “Freedom” to the country murder yarn that struts like buckskin-era early-1970s Cher (“Daddy Lessons”). She mixes in a spoken-word snippet from Jay-Z’s grandmother Hattie White, the obscure 1960s Mexican garage band Kaleidoscope, indie slop like Father John Misty, Animal Collective and (with a production credit) Vampire Weekend’s Ezra Koenig. Her guests range from James Blake (“Forward”) to the Weeknd (“6 Inch”). She goes full-on rock-queen in “Don’t Hurt Yourself,” making Jack White sound feistier than he has in years, as she compares herself to a dragon breathing fire – that’s an understatement – and samples the John Bonham drum thunder from “When The Levee Breaks.”

Yet the most astounding sound is always Bey’s voice, as she pushes to her bluesiest extremes, like the hilariously nasty way she sneers, “He’s always got them fucking ex-cuuuu-ses.” She hits some Plastic Ono Band-style primal-scream moments in the devastating ballad “Love Drought.” (“Nine times out of ten I’m in my feelings / But ten times out of nine I’m only human” is a stunning confession from a diva who’s always made such a fetish out of emotional self-control.) “Freedom” and “Formation” reach out historically, connecting her personal pain to the trauma of American blackness, with the power of Aretha Franklin’s Spirit in the Dark or Nina Simone’s Silk and Soul. She can’t resist adding a happy ending with “All Night,” where the couple kisses and makes up and lives happily ever after, or at least until morning. But it’s an uneasy coda, with the word “forgive” noticeably absent and the future still in doubt.

Whether Beyoncé likes it or not – and everything about Lemonade suggests she lives for it – she’s the kind of artist whose voice people hear their own stories in, whatever our stories may be. She’s always aspired to superhero status, even from her earliest days in a girl group that was tellingly named Destiny’s Child. (Once upon a time, back in the Nineties, “No No No” was the only Destiny’s Child song in existence – but make no mistake, we could already hear she was Beyoncé.) She lives up to every inch of that superhero status on Lemonade. Like the professional heartbreaker she sings about in “6 Inch,” she murdered everybody and the world was her witness.

Beyoncé journeys from rage to redemption on her powerful new album, ‘Lemonade.’ Watch here.

December 20, 2017

A Beginner’s Guide To Garage-Rock

“My motto is: try everything, life is short,” says John Dwyer, the leader of San Francisco garage rockers Thee Oh Sees. “We are growing at every turn. Every day you get a little older, a little closer to the grave – you should taste it all.”

A master of contemporary garage rock, he came into prominence as part of the fruitful San Francisco scene of the early 2000s. Since then Thee Oh Sees have rattled out 21 LPs of bewilderingly consistent quality, under various iterations of their name, and Dwyer has written, recorded and released another 20 albums with other collaborators, encompassing everything from industrial electronics to improvised jazz and death metal.

In a recent interview with Marc Maron, Dwyer talked of his love of Scott Walker and, in particular, a scene in the Walker documentary 30th Century Man when a percussionist is recorded punching a side of beef; Dwyer has similarly tried to master new sounds, be it a flute on Thee Oh Sees’ Dog Poison or electronic bagpipes on his most recent Damaged Bug LP. His career is full of examples of how to explore genres on a shoestring, too – there are projects that are just drums and vocals (the Drums) or a hefty death metal record squeezed out of three people (Dig That Body Up, It’s Alive). We asked him where to begin in his vast back catalogue.

Coachwhips – Bangers vs Fuckers (Narnack, 2003)

Coachwhips rewrote the punk aesthetic for the 21st century. Raw, stripped back to the bones of guitar, drums and keys, their shows were chaotic and rambunctious. Bangers vs Fuckers epitomises that, squeezing 11 tracks into 18 minutes, and was notable for Dwyer’s use of a telephone transducer rather than a microphone. “It was very simplistic and was meant to be bombastic and primitive,” Dwyer says. “Doing it the most direct path was key. The music was so abrasive and forward that no one would have noticed any of our innovation. It was a sort of as-much-as-you-can-squeeze-from-nothing aesthetic.”

OCS – 34 Reasons Why Life Goes on Without You (Tumult, 2003)

“This goes hand-in-hand with the amount of marijuana I was smoking at the time,” is Dwyer’s take on this early OCS material, a stunningly delicate collection of untitled tracks that marks the only time an acoustic guitar has been given prominence in one of his records.

Zeigenbock Kopf ‎– IDM LP (KimoSciotic, 2002)

The first time Dwyer worked extensively with abrasive electronics was in his band Zeigenbock Kopf. The group aped German industrial to create an abrasive noise overlaid with homoerotic subject matter – the IDM of the title stands for “I dig men” and the cover featured Dwyer dressed as a leather daddy. “I got a lot of heat from this band,” he says. “We had a real mix of people who loved and hated it. I think it goes to show that not every idea is a good idea or needs to be a reality. I was much more into heavier drugs and beats and distorted electronics, so it felt perfect. I had this idea of doing a faux German band, and the leather daddy thing sort of fell into line with it.”

Sword & Sandals ‎– Good & Plenty (Empty Cellar, 2010)

This project with Randy Sutherland and Shaun O’Dell wraps duelling saxophones around blistering percussion. “I love jazz and improvisation,” he says. “That band was real fun. We played a lot of shows in the woods, on the street, in art galleries and bookstores. Even today we have massive segments of improvisation in Thee Oh Sees, so why not [do it]? It would be boring otherwise.”

Damaged Bug – Bunker Funk (Castle Face, 2017)

With Thee Oh Sees constantly touring and recording, it is astounding that Dwyer finds time to work on his own Damaged Bug solo project, full of instrumental experiments (like the aforementioned bagpipes). “It’s my meditation – I love doing it,” Dwyer says. “I love to be consumed in art, whether it be my own or somebody else’s. I love Philip K Dick, Truman Capote, Flannery O’Connor, Peter Watts, Ben Wheatley, Stanley Kubrick, Peter Weir … the list could go on for days. I’m always working.” With that approach, it would not be a surprise to see 40 more releases over the next two decades.