Basics of Guitar
Learning guitar starts with understanding the basics — how your instrument works, how it sounds, and how to get it ready for practice. In this section, we’ll cover essential foundations like tuning, strings, and the fretboard layout. Mastering these basics will give you a strong start and make every exercise smoother and more enjoyable.
Tuning your guitar
Tuning is the single most important step before you practice — if your guitar is out of tune you’ll be training your ear and fingers to the wrong pitches. Use a clip-on or app tuner and tune to standard E A D G B E (low to high); if you don’t have a tuner, tune the low E to a reference pitch and then use the 5th-fret method (E→A at 5th fret, A→D at 5th, D→G at 5th, G→B at 4th, B→E at 5th). Pluck each string and tighten or loosen until the tuner reads in tune, then re-check after the new string settles — strings stretch and drift, especially when new. Learn to listen for beats (wavering interference) when two pitches are slightly off; when the beats disappear the notes are in tune. Make tuning a habit: check at the start of every session and quickly between exercises — a well-tuned guitar makes progress feel real and keeps your ear accurate.
Understanding strings and fretboard layout
The fretboard is a simple, repeatable map: there are six strings numbered 6 (thickest, low E) to 1 (thinnest, high E), and each fret raises the open-string pitch by one semitone — so moving up frets moves you up in pitch. Important landmarks to learn are the 3rd, 5th, 7th and especially the 12th fret (the 12th is one octave above the open string); once you spot those you can orient yourself anywhere on the neck. Notes repeat in patterns across strings, so many notes appear in multiple places — learning the notes on the low E and A strings first makes chord shapes and power-chords easier to find. Start by memorizing open-string names, then practice finding the same note at different string/fret positions and sing the note as you play it; this builds both fretboard fluency and ear-training simultaneously.
Finger positioning & posture
Good posture and fretting technique let you play cleanly and avoid pain: sit or stand with a straight back, the guitar resting comfortably against your body, and the neck angled slightly upward so your fretting hand can work under it. Place your thumb roughly behind the middle of the neck (not over the top), curl your fingers so you press with the fingertip pads, and aim to fret just behind the metal fretwire — that minimizes buzz and reduces the pressure required. Keep your wrist relaxed and slightly rounded, avoid collapsing knuckles or laying fingers flat across adjacent strings, and use the lightest pressure that produces a clear note; excessive squeezing causes tension and slows you down. Learn finger numbers (1=index, 2=middle, 3=ring, 4=pinky) and practice placing each finger independently — small, consistent shapes beat forceful, inconsistent ones every time.
First practice exercises
Start every session with a short, focused routine that warms up your hands and trains both accuracy and rhythm. Begin by checking your tuning, then spend a few minutes loosening your fingers with simple patterns to build strength and coordination. Follow this with basic chord shapes — focus on switching between just two or three chords slowly and cleanly before worrying about speed. Once you feel comfortable, add a simple melody or riff so you can connect technique to music right away. Always use a metronome, play at a pace where every note rings clearly, and only increase speed when you can do it without tension. The goal isn’t just movement, but control and consistency — quality over speed will set the foundation for everything that follows. I’ve included some fingering exercises below to help you develop fluent and fluid movement.
The first exercise allows you to stimulate fingers and make them flexible enough to play complex and advanced riffs, arpeggios and solos ahead.
Ex-1 [to be practiced on all strings]
e- 5-6-7-8---6-7-8-9---7-8-9-10---8-9-10-11---9-10-11-12
Ex-2
e-0-2-3-0-5-3---0-3-5-0-7-5---0-5-7-0-8-7---0-7-8-0-12-10
Ex-3
e- 0-2-3
B- -0-1-3-
G-0-2
Ex-4
e- 0-0-2-2-3-3
B- -0-0-1-1-3-3-
G-0-0-2-2
Ex-5
e-0-0-2-0---4-0-5-0-7-0-9-0-11-0-12-0
Sliding
Sliding is a technique that makes your playing sound smooth and connected by moving from one note to another without lifting your finger off the string. On a note sheet, it is indicates by an (s) sign with one note before and after it. To do it, press firmly on the first note with your fingertip, pick the string, and then keep the pressure as you glide your finger up or down the fretboard to the target fret (or the second note). The motion should feel like shifting, not lifting — if you release pressure, the sound will cut off. Start with small slides of two or three frets, then experiment with longer ones for dramatic effect. Sliding not only adds expression but also helps you move efficiently across the neck, making your playing sound more fluid and professional.
Ex-1
G-2(s)3-2-3-3(s)5---3,5,5(s)7---5,7,7(s)8---7-8-8(s)10
Ex-2
B-10(s)12-10-12---8(s)10-8-10---7(s)8-7-8---5-7-3-5
Ex-3
A-3(s)5
D- -3-5-5(s)7
G- -5-7(s)9
B- -8-10-10(s)12
Hammer-On
A hammer-on is a technique that lets you play two notes smoothly with only one pick stroke, creating a more connected and expressive sound. It is indicated by (h) sign with one note before and after it. To play it, pick a note normally, then without picking again, use a free finger from your fretting hand to quickly and firmly “hammer” onto a higher fret on the same string. The motion should be fast and confident, like tapping the fretboard, so the second note rings out clearly. Start by practicing with your index finger holding a note and your middle or ring finger hammering onto the next fret. Over time, hammer-ons will make scales, licks, and riffs feel faster and more fluid, since you won’t need to pick every single note.
NOTE:- Notes in [ squared brackets ] mean that those notes have to be played a little faster
Ex-1 [Basic Hammer-Ons on One String]
e-5(h)7-5(h)7-5(h)7-5(h)7
Ex-2 [Ascending Hammer-On Pattern]
e-5(h)7-7(h)8-8(h)10-10(h)12
Pull-Off
A pull-off is the opposite of a hammer-on. It lets you play two notes smoothly with only one pick stroke, giving your playing a flowing and legato sound. It is indicated by a (p) sign between two notes. To play it, pick a note normally, then use a fretting finger to “pull” the string slightly down and off, so that a lower note (already being held or an open string) rings out clearly. The motion should be quick and controlled—don’t just lift the finger, but give a slight “flick” towards the floor to make the next note sound. Pull-offs are essential for playing fast licks, trills, and smooth phrases, especially when combined with hammer-ons.
NOTE:- Notes in [ squared brackets ] mean that those notes have to be played a little faster
Ex-1 [Basic Pull-Offs on One String]
e-7(p)5-7(p)5-7(p)5-7(p)5
Ex-2 [Descending Pull-Off Pattern]
e-8(p)7-7(p)5-5(p)3-3(p)0
Ex-3 [Pull-Off Across Strings]
e-7(p)5
B- 8(p)5
G- 7(p)5
D- 7(p)5
Hammer-Ons & Pull-Offs (Together)
Hammer-ons and pull-offs are often practiced together to create smooth, flowing passages without constant picking. This back-and-forth motion is called a trill when done repeatedly between two notes. The hammer-on pushes the string down to produce a higher note, while the pull-off releases it back to a lower note. Combining both techniques helps build finger strength, speed, and coordination. They are essential for fast runs, scales, and expressive phrasing in legato playing.
NOTE: Notes in [ squared brackets ] mean those notes have to be played a little faster.
Ex-1 [Basic Trill Exercise]
e-5(hp)7-7(hp)9-9(hp)11
Ex-2 [Legato Across All Strings]
e-5(hp)7
B- 5(hp)6
G- 4(hp)5
D- 5(hp)7
A- 5(hp)7
E- 3(hp)5
Ex: Kuch Kuch Hota Hai (Legato Practice)
This exercise uses a mix of slides, hammer-ons, and pull-offs to create smooth, flowing lines. It’s great for building control, finger strength, and expressive phrasing while practicing all three techniques together.
Ex-1 [Kuch-Kuch Hota Hai]
1) e-7-8-7(hp)8-5-3-7 [x2]
2) e-5-7-5(hp)7-3-2-5 -5-3-5-3-3-3-3
B- 3
3) e-3-5-7-12-10---3-5-7-10(s)12-12-10
Repeat 2) line
4) e-7-8-10-10(s)12-[10,8,7]- 5-7-8-8(s)10
5) e-5(s)7-8-10-10(s)12-[10,8,7]- 5-7-8-8(s)10
6) e-3-7-5-3-2-2-5-
B- 3
7) B-6(s)8,5,3,1--1
e- -3-0-1-5
8) e-1-3-5-10-8---1-3-5-8(s)10-10-8
Repeat 2) line
Ajeeb Dastan hai yeh
Intro
1) E-7-9 9-8--7-9
A- -7-9(s)11-9-7- -7-11
2) E-7-9 9-8--7-9
A- -7-9(s)11-9-7- -7
D- -9
3) D-8(s)9--8-9--8-9-13-11-9-8-6
4) D- -4-6
G-5(s)6-4-3 -3--6-3-4
Song
1) e-7(s)9-7-9-7
B- -9-7 7(s)9
G- -9-
2) e-7(s)9-7-9-7
B- -9-7 7
G- -9-
3) B-7(s)9-7-9-7-5-4-2-2
4) e-7-7-9-7-
B- 9-7-
G- 9-9
5) B- 7-9-1--9-10-7-10
G-8(s)9-
Ex-3 [often known as spidering]
E-7-9-10 -10-9-7-9-10
A- -7 7-9-10-7-9-10 -10-9-7-9-10
D- -7 -7-9-11-7-9-11 -11-9-7-9-11
G- -7 -7-9-11-7-9-11 -11-9-7-9-11
B- -8 -8-10-12-8-10-12 -12-10-8-10-12
e- -9 -9-10-12
Moving onto simple songs and tunes
As you get comfortable with basic techniques, it’s time to start applying them to simple songs and tunes. These exercises help you connect theory with real music, improve timing, and build confidence while playing recognizable melodies.
Moving onto complex songs
As you master basic techniques like hammer-ons, pull-offs, and slides, you’re ready to move into more complex songs. These pieces combine multiple skills, helping you improve coordination, tone control, and musical expression. Take it slow at first, focus on clarity, and gradually build up speed.