One of the key fundamentals with any music and any instrument is timing and it doesn't matter what you're playing, if it's not in perfect time then it sounds amateur and somewhat annoying for the listener. If you have ever struggled in the past with guitar timing then you may find these 'guitar solo in time tips' useful, and hopefully instantly applicable to your playing.

There are two main avenues we can look at in terms of timing, and they are external and internal influences. External influences focus on what is outside of you; things like your guitar setup and the picking action itself, the things that physically go into making the sound. Internal influences come into the category of how you think, hear and structure the notes before they are played. With these two areas in mind, here are some things to think about to get 'machine like' timing in everything you play!

Thinking about the Beat - Internally, how you process what you hear makes all the difference. I can guarantee you that you and I could be hearing the same beat but creating different tunes in our mind to play over it, and this matters with timing because you need to hear the accents and where the main notes need to land. If you have a basic 4:4 beat and you are playing a scale over it, the scale will consist of notes in between the beats as well as notes that land dead on the beat. Even if you don't hear a physical beat you need to learn how to imagine it's there, as this is what timing is all about - picking where the beat should be and landing dead on it (this is how a solo guitarist can play with no accompaniment and sound good, because the beat is in his/her mind).

Following a specific beat - There are two main ways to physically create a beat to play to; use a metronome and get an instant timing you can play to, or take a little longer and set up a drum machine or drum software. Either way is fine and will do the immediate job at hand, but the advantages of the drum machine are that you feel more inspired because it's playing real music, and you can have snare accents for example to help create odd timings and different feels. On the other hand metronomes are cheap to buy (there are even free ones online such as this one). Also, if you do get a chance to play with a drummer do it. There's something that happens with your playing when playing with a real drummer, you become more accountable and are almost forced to become better, especially with your timing.

Pick Attack and Timing - This is the third area to control after the external and internal timing. Pick attack simply means the speed and consistency that the pick strikes the string. If you are playing a basic chord progression and are 'strumming' to just get a relaxed feel then you can have a very loose hand while playing the notes as timing will be a bit more forgiving. If you're playing a guitar solo or anything with single notes or with more speed, then this needs to sharpen up and as a general rule - the faster you play the tighter your picking action needs to become. When playing guitar solos there is a focus on picking the note fast (even if the sequence is slow) to get an immediate and clean sound from the note, and only then can you add your chosen technique to it.

It's a very handy thing for guitarists who want to learn lead or solo work to first think about the rhythm and groove of the song. Only when you get the feel from that side of things can you add to it with a solo because solos are not usually stand alone pieces, they are enhanced and structured by what's underneath them (even if it's not physically played).

As you can see from these guitar solo in time tips, timing comes from a few aspects of the sound, and if you learn to first hear it and then play exactly to it (practicing slowly and evenly at first) then your timing will improve dramatically in a short space of time, and just imagine what happens when you speed it all up?

When learning how to play guitar solos there are quite a few things that first come to mind; technique, speed, picking style for starters...but rarely is hand placement talked about. When I talk about hand placement here I'm referring to the 'fretting hand' and not the picking hand, although you could write a whole book on that one.

If you just play by feel and go with what seems comfortable you may stumble across the best way to do things, but you may also fall into some bad habits, or positions that don't help you to play what you want to play. Once you get into these positions and you naturally go there it can be difficult to retrain yourself...difficult, but not impossible. Here we'll take a look at what some different positions are and how they can be used in your playing. I'll also point out some of the pitfalls of using certain techniques and how they can be corrected.

I also want to point out that there are no right or wrong ways to position your hands on the guitar, just ways that work and ways that don't...

There are two main schools of thought around hand positioning:

Classical or Solo Position & Rock or Bending Position. These have been called many different names but the name itself is irrelevant, so we'll just use these to illustrate the idea. After looking at these positions from a 'fingers on the board' approach, we can also look at the thumb position and find a way to get the result we're after.

Classical Position - This is often called this because it's taught as the only effective position on the classical guitar, and with good reason. When you're playing mostly separate notes, scales, or anything that involves a lot of finger changing and movement (such as guitar solos), it helps to have the fullest access from your fingers and that's what this position provides.

Technique - This is achieved by placing the thumb facing vertically in the middle of the back of the neck, thereby giving you greater access for your fingers on the fret board.

Rock Position - This is also an effective technique and one that feels more natural to play for a lot of people but it has its limitations, especially when learning how to play guitar solos. The advantage of this technique is getting a controlled grip and general control when doing any sort of bending or movement of the notes (you'll notice a lot of blues players using the thumb over approach to get the controlled tone and maximized feeling from the notes). The disadvantage is the reduced finger control over faster moving passages such as scale runs etc...

Technique - To do this simply place your thumb further up toward the top of the back of the neck, to the point of gripping the neck like a club and forcing your thumb down for a greater level of control.

To get an idea of the difference in the finger control, start in the first position with your thumb in the center of the neck and move it up to the top - note how your fingers move on the front and how much reach you have in either position! You'll soon see the advantages of both and if you combine the two in your playing it will give you greater control regardless of what you want to play.

There is one last thing to consider and that is the thumb angle. Some people recommend pointing the thumb along the neck and facing the headstock, try it with both positions and see how comfortable it is to play with, but I have to also point out that the thumb straight up is the most common practice.

Whatever gives you the playability without causing R.S.I. is a good thing!

Do you ever get bored playing your guitar to an electronic beep? Although playing to a metronome is one of the most beneficial things you can do for your playing (in more ways than you can imagine) it can sometimes feel a little unreal and more often than not, uninspiring. When learning how to play guitar solos you usually have something to play to, maybe playing over a CD or jamming your favorite song with a friend, but what happens if you're just practicing techniques, improvisation or composing something new? There is a solution that I have used for years and it has helped me in so many ways, creatively as well as with timing and technique. It is the use of backing tracks and real instruments to play along to.

Backing Tracks are just what Karaoke is to the singing world; a real band track with one instrument taken out so you can play along as if playing with a full band. You can approach these in two ways - buy pre existing backing tracks or what I did, make your own. It's easy to make your own but I will warn you now, it can cost a little to set yourself up to be able to record these. Here are some things to consider when choosing either way:

Buying Existing Tracks

Does the music inspire you? There are so many tracks available and not all are created equal. Choose ones that are in your genre and that make you want to pick up the guitar and play along!

Can they be used in multiple ways? Some songs are easier to solo to than others and you want to make your money stretch as far as possible. Try to choose tracks that give you multiple ideas and that allow you to open up notes all over the neck.

How's the quality of the sound? It's no use playing to something that sounds like it was recorded in a cave during a hail storm! Choose something that sounds well produced and professional after all, the better it sounds the better you will play to it.

Making your own Backing Tracks

What do you really need in order to do this? Drum Machine and some form of recording device - that's it! You can always get a lot more stuff than this to make professional recordings but that all depends on your budget, so work out what you really need before going to the guitar shop and you won't get swept up in the moment (speaking from experience here, going in for picks and coming out with a new guitar!).

Drum Machine - There are some free ones online that will give you a decent sound to play along with and depending on what you want to achieve these may be good enough for you. Next step up is the cheap paid versions such as Quickbeats, these are a good alternative and certainly cheap enough. I personally use a program called Fruityloops and add my own sampled drum sounds in which gives the result I'm after, and that's what it's about.

Guitar Recording - There are also a lot of ways to record guitar, starting from cheap programs you can download to physical recording devices, but it all depends on what you want to spend. There are programs that you can buy that have a basic plug-and-play guitar recording unit, and that come with a built in drum machine, which are great for the guitarist wanting it easy, and you can get some great sounds that will inspire you for years to come.

At the end of the day you can spend unlimited amounts on recording equipment that you don't necessarily need, but choose what suits your needs. And if you're just learning how to play guitar solos from your favourite band and you don't want to pay anything, find a free drum program (even a trial version) and create a few beats you can play along with and this will enhance your creativity which in turn will improve all aspects of your playing.

Ok, let's take a look at a technique that is great for a few styles but especially for Rock and Metal, and that is Palm Muting. The definition is fairly self explanatory as it's just resting the palm on the strings to mute the sound, but when it comes time to actually play it can get a little tricky for newer players. Hopefully by the end of this you'll have a clear idea of how it works and how you can use it in your own playing.

When learning how to play lead guitar you can get away without knowing this technique, but once again it is something that will spice up your solos and give them an extra dynamic so you should really know what it is and how to use it.

The technique - This is completely a picking hand technique and is played by resting the right side of your palm (for right handers; left handers just reverse it) on the strings close to the bridge, giving the strings a muted or deadened sound. Some people recommend playing by resting on the bridge itself so you're just touching the strings, but if you know what causes the sound and how to play it you can do it anywhere. I personally mute over the pickups a little further back from the bridge as it's where I generally pick everything else, so it's a matter of ease to play as much as I can in the same position. Play around with different positions and see what is comfortable, and I do recommend staying in the same position as you pick everything else.

When using this in your lead playing; whether composing your own or learning how to play lead guitar from someone else, mix it up with everything that you do. As a general rule (and the only real rule in guitar is what sounds good!) keep the deadened sounds like muting for the scale runs and the bulk of the passages, and for anything you want accented that's where you open up the sound (this works with things like the Wah pedal too, having the pedal up with the closed sound for the majority and opening it up on the accents) - try it and see how it works for you.

That's it! It's an easy technique to explain and not so difficult to execute, but be patient with yourself and get it right at slow speeds and it will serve you well in the future...

Here's palm muting put into practice so you can see it and hear how it actually sounds.

What's the first thing you think of when you hear the words 'guitar harmonies'? For a lot of people it'll be 80's glam solos and other seemingly outdated styles... but don't disregard this as it can be a very full and effective sound in most modern styles if played right (and that is the key!). If you're lucky enough to remember the 80's solos then you'll remember that the guitar harmonies were flying hard and fast and were ever so slightly overused, but that was great for that style and time. Now you may have to consider spicing things up a little more in order for it to work, and there is one major way to do this.

If you've leaned how to play guitar solos in the 80's then this can be a rough task to change, but all it takes is wanting to and it can be done. There is one main difference between ye harmonies of old and what is being created now, and that is repetition. Before, it used to be an entire pattern or scale run that was played completely in harmony and sounded somewhat predictable, and that's why that sound has now dated. Now you can't really get away with that so much with the new generations of listeners needing everything constantly changing and new (think of the attention spans) so there's a need to add a mix of harmony parts with other techniques and keep it interesting, and then you'll separate them from the stereotype of the past.

There are 3 main ways to play a harmony and they are 3^rd/ 5^th and Octave. The first guitar can play whatever notes you want, and to work out the harmony section it's simply a matter of working out the note the first guitar is playing and then choosing either the 3^rd or 5^th note up from that in the scale you wish to play, or choosing the octave (the same note played an octave above or below). It's really that easy to create a guitar harmony, and this will also help you when learning how to play guitar solos from other bands as the majority will fall into this category. One more thing, when you choose your 3^rd/ 5^th or octave notes they can be either side of the original guitar notes. If you play a 3^rd down from the first guitar, it's the same ratio but you are just playing the lower harmony part.

Play around with this and think about using it as a way to accent small passages rather than whole scale runs, and you'll stay clear of the stereotype harmonies - which are still great if that's the desired effect, but you now have a choice!

Check out this video showing you how to put harmonies to a lead section.

Have you ever wondered how to play guitar solos with the 'slipperiness' and ease that a lot of the pro guitarists do? There are a couple of tricks that don't get talked about that much and are things that you can do immediately to enhance your speed and playing ability on any guitar neck.

First of all, let's look at the natural things on a guitar that can make it a faster neck to play on, so if you're in the market for a new one you can make the best choice for what you need at the time. The things to consider on a guitar neck when you're looking for ease of use and speed for solos and fast riffs in general are neck width, coating, wood choice on both fret board and the neck back, and action (These are just the main neck considerations apart from other things to look for, but that for another time).

Neck Width - There are a few different choices when it comes to the width of the neck, from fatter necks that apparently give you more control over the notes but for some can hinder their speed, and the thin wide necks that are more aimed at speed and free movement. Regardless of which one feels comfortable to you, they are both personal choices as with the rest of these points and should both be played to get a feel for what's out there and how it plays. I personally find a thin neck much easier to play, but that's just the choice I have made.

Coating - This is quite often overlooked and can be a key factor in what you can do at high speed. Coating refers to the finish on the wood, so whether it's a high gloss or more of a matt finish it can affect the way your hand slides across the neck. Some people stick to a gloss finish and find it hard to slide effectively, while others love the feel of it...once again, personal preference.

Wood Choice - You may not feel or hear the difference in the wood choice in the neck and that's ok, but when learning how to play guitar solos the choice of woods on the fret board you'll want to pay attention to. There are a few different choices available here from Rosewood, Ebony, and Maple etc...I have played most and found Rosewood was the one for me in terms of having the control over the notes I chose as well as being able to effortlessly slide across the neck, but I know guys that swear by Ebony fret boards. Try a few and look for the one that suits.

Action - This is where it gets fun and this is also the stage you have the most control over. The Action on a guitar simply refers to the height of the strings off the neck and the playability caused as a result. If a guitar has a fast action it means the strings are low to the neck and overall it's a smooth easy play. Regardless of the previous 3 points, whatever guitar you own you should be able to do something with to improve the action, whether that's filing down the bridge or nut, to lowering your tremolo system. To get detailed explanation of how to lower your action click here.

There is another trick you can do to make your guitar slippery to play, and that is oiling the fret board. It sounds a little weird and to be honest when I first heard about this I was sceptical, but it works! I'm not talking throwing engine oil over it, but what's known in Australia as WD-40. Any form of spray lubricant from the hardware store will do nicely (you can also buy a specialized guitar spray from the guitar shop but it costs a bit more and does exactly the same thing). I've also heard of people using lemon oil, but I haven't personally tried that so there's not much I can say on it.

Just be warned, your fingers will get a bit oily and feel weird at first, but as it soaks into the neck you won't notice it. I also get a dusting cloth or any smooth cloth and wipe the excess spray into the fret board, just to get an even coverage and less oil on my fingers.

If you oil the neck and make the string action as low as you can without causing any fret buzz, you'll notice an almost instant improvement in your playing ability!

String Skipping is one of those techniques that seem so easy when you see it done but when you try it yourself you realize it's not that easy, especially when you try to skip two or more strings at a time! Before we get into it, let's clarify what string skipping is so we're all on the same page. The technique is really a non technique in the way that its whole purpose is to 'miss' playing the notes, and is simply where you play one string then jump over the next one or more and land on another string. In essence, 'skipping' over from one to another and leaving an unplayed string in the middle. This technique is used more in electric guitar so if you want a challenging electric guitar lesson, this is it!

There are some things to point out when practicing this that may seem obvious at first, but it's essential to make sure you play them this way so when you speed it all up you're not picking up bad habits. Check out these tips and add them into your next scale practice runs:

Economy picking - We'll cover this technique in detail at a later stage but it is simply picking in the most economical way and only moving your picking hand as much as you need to, to get the job done. When using this in string skipping it refers to how you pick the first string and then land on the next after the skip, and it all depends what you're trying to achieve. Go for what feels the most natural to play in order to let you make a clean jump and land dead on the note.

Hammer ons - This is a great way to play a few notes before the skip and give yourself enough time to make the jump. If your left hand (or fretting hand for left handers) is tied up with a few notes while your other hand is clearing the strings preparing for the land then it can make it so much easier, so try it slow and see what gives you the best chance of making it smooth.

String Noise - This is one to eliminate at all costs (unless that's what you're after of course). Because there is movement in the strings on either side, it's easy to transfer that noise to the unplayed string(s). You can and should practice playing clean notes slowly to get the feel of what works and what doesn't before you speed it up, but there is another way as well...

Palm Muting - Another technique for another post, but the basics of this are resting the palm of your picking hand on the strings slightly to 'mute' the sound. This doesn't cut all the sound out, just deadens it and cuts out the noise - you hear it a lot in heavier music and it's very useful for any technique where you're trying to cut out string noise. Try it here especially at the immediate point of the jump.

A good to practice these is in scale runs, and definitely with a metronome. Start out with going up and down the scale once. The next time skip one string both on the way up and back down, then two strings etc...until you have a few strings and then work back down until you're playing the scale again. It's hard at first, but well worth it!

For the most comprehensive guitar lessons online, try Jamorama!

Learning how to play guitar solos is easy when you know how, but becoming a master at any specific technique is another level. There are a few techniques that are considered more advanced because of their level of difficulty, and Artificial Harmonics for a lot of guitarists fall into this category.

Natural Harmonics are produced by lightly tapping a string in set places along the neck, resulting in a bell like sound. These can be sounded at multiple positions, such as 5^th, 7^th and 12^th frets, and can be played with very little effort.

Artificial Harmonics on the other hand require a specific technique, and although are a little harder to play, they can be played on any note or position on the neck. There are a few ways to play these Artificial Harmonics such as playing a note first and then lightly touching the same string at an interval equivalent to a natural harmonic i.e. if you play a note on the second fret, you can move the natural harmonics that are usually in 5^th, 7^th and 12^th fret positions up two frets to result in the same harmonic but two semi tones higher. This is very similar to a natural harmonic and is self explanatory once you know what a natural harmonic is, only moved up by the note you choose to play beforehand.

The main way I choose to use artificial harmonics when learning how to play guitar solos is through the use of Pinch Harmonics.

Pinch Harmonics are simply 'pinching' the string with your playing hand as opposed to your fretting hand resulting in a harmonic squealing sound. To do this, all I do is rest my thumb and the edge of the pick on the string at the same time. When I strike the note with both the thumb and pick it results in a Pinch harmonic and you should be able to hear the difference straight away, however mastering this can take a little time so be patient and keep working on it.

The reason I prefer this in general (and this is only a personal preference) is because it frees my left hand to continue with whatever other technique I want to use with the harmonic. You can use this while simply bending a note, adding it as an accent in a fast scale run, or any other variation including with dives and other more savage techniques.

If you have trouble getting the sound smooth, try moving your picking hand position to get either more pick than thumb or vice versa, or even to cut more through the strings in a downward motion. Play around and use what feels comfortable to you.

Here's a great video for getting a pinch harmonic sound, regardless of your level of expertise - enjoy!